8 10 181 https://archivesoralhistories.csusm.edu/files/original/2ec9076e1d55c0a2899af8cdc2860b9a.pdf 7ee6f12c111c3a0a9ea3acd52a996909 PDF Text Text SARA SHEIKH-ARVIZU TRANSCRIPT, INTERVIEW 2023-03-30 Michael De Maria: My name is Michael De Maria. I'm a graduate research assistant here at CSU (California State University) San Marcos with Kellogg Library’s Special Collections Department. I'm joined here today by Sarah Sheikh-Arvizu. The date is March 30th, 2023, and the time is 10:36 A.M. So today we're going to be focusing on Sarah's involvement with the Cross-Cultural Center, especially as it pertains to her stint as the Associate Director of Programs at the Cross-Cultural Center. So Sarah, thank you for joining me today. To start things off, I actually wanted to take things back a little bit. My first question is more about your background in the field, and I wanted to know when you decided to make social justice a focal point of your career. Sara Sheikh-Arvizu: I, it's a great question. Thank you. I'm happy to be here and be part of this project. For me, you know, to get-- jump right into your question, I wanted social justice to be the center of my work and my work life, since I was in college. I, there's a training that stood out to me. When I first became a student staff member on my own undergraduate campus. I was gonna be starting working in housing, and there was a diversity training which feels so regular and normal now, that's just part of what training involves. And it was at the time for me as well. But there was something that happened in that training that I felt like, “You know, I wanna be in this work and I want to do better.” I, it was a training that was focused on race, and what happened was they asked us to split up into two different spaces. A space for white folks and a space for folks of color, and I being mixed race, and there was about five or six other folks also, all sort of like walked up to the people who were facilitating, who were not directly our staff members, as another organization who came in to do this training, and asked “Where do we go? We don't fit into either one of these spaces.” And for us, we were looking for an answer and also validation. We were also offering to create our own space and asking if we could do that. And we weren't given permission to do that. We were told to choose one of those spaces, and that was a choice that I feel like I shouldn't have been asked to make. None of the five or six of us should have been asked to make. And honestly, I didn't want other folks to have to choose something like that in their experience on a college campus. So that really was like the moment that I wanted to be part of social justice work. It was honestly that moment in college. De Maria: Very, very interesting. And from then on, what sorts of organizations or activities did you involve yourself in, to kind of further that goal? And then also where did you attend undergraduate studies? Sheikh-Arvizu: Yeah so, my undergrad was at UC (University of California) Irvine, and other things I got involved with, some of it was just about learning for me. So, some of the things I got involved with were taking classes that were in gender studies, queer studies, and just learning more about what else was going on, right? Learning more about how we socially work together? You know, what does oppression look like? And kind of exploring and unpacking that. I think for me, other spaces that I was trying to get connected to and involved with was the LGBTQ Center on our campus. And so, I did a(n) internship there, connected to research. That was what my program, it was a requirement of my program as well, but I chose that as the place to do my site study. And then, and then just creating those spaces. So I, beyond my undergrad, the other places that I sought to be connected, education was always really important to me. And so, whenever I attended conferences as a professional, that was, I really focused all of the sessions I went to on learning more about folks that were different from me, had different identities than myself. So, I was drawn to topics about transgender students. I was drawn to topics Transcribed by Michael De Maria and Aaron Williams 1 2024-01-25 �SARA SHEIKH-ARVIZU TRANSCRIPT, INTERVIEW 2023-03-30 about equity and how to measure and set out plans. So, like my (laughs) and my interest was wide. I wanted to, I tried to attend a lot of panels where folks were kind of sharing their stories or insight or, advice as it related to their identity. It was something that I felt like I needed to hear, but I also felt very validated in hearing those stories and really taking those on as something like, they were not my stories to take on, but they were the knowledge from what people were sharing I could take on and I could apply in other ways. De Maria: That's very, very profound, and look, talking about your background, I also know that you have your masters. Of course, you are quite educated, and you've emphasized a lot about the learning aspect of social justice and being a participant that way. So, I wanna shift gears here and start talking about your professional career, post education. I know that you were also a program coordinator at Chapman (University) prior to joining the Cross-Cultural Center. So, I just wanted to walk you through, or walk me through some of the major projects that you led there. Sheikh-Arvizu: Yeah. (clears throat) Excuse me. Yeah, so I was at Chapman. That was my first professional job outside of undergrad and graduate school. And so, some of the projects that I focused on, so I was in the Office of Social Justice. So honestly, as a young professional it felt amazing to have a job where social justice was actually in the title of my position. I felt like it's what I was seeking. And what I found out when I was there was that they needed a lot of foundational work. So, something to really be a launching point for this Office of Social Justice. And so, what I did there was really try to figure out, “Okay, well what are the cornerstones of this office of the work?” And working directly with students to do that. For me, something that was a program that was well developed but was handed kind of, I don't know whether to say back to me or quote unquote my position or handed to me to lead, was a Safe, the Safe Space Training Program. So that was a program that I was kind of gifted. And for me, I wanted to expand it, expand the reach of that program, expand the depth of what that program could offer, with regard to training and education and visibility. And so, that was a focus area of what I tried to develop. So, to increase the committee that was really working on the safe space trainings and initiatives. We added a train the trainer component so that there were more trainers on campus and it wasn't, you know, focused on just three people doing every training for the whole campus. You know, rotating through, over and over. And then we increased the number and the types of trainings that we offered. So it wasn't, it wasn't solely like a-- essentially at the time LGBT101; really going over definitions and some case study work and unpacking bias and things like that. (We) started to do more trainings in addition to that, which was, which was amazing. And then other foundational pieces of the Office of Social Justice. Some of the work that students really wanted to do was have these landmark programs where they could keep doing it and build from every year, which I thought was a great foundation-setter. So, some of the programs that I remember starting there and then doing a few times in my time there (at Chapman), was we called it Reel Justice, R-E-E-L. So focused on films, right? So, exploring social justice through films. It was a film week, and we were showing films that were not, that were kind of along the lines of a theme. And something that was really unique that I loved that our students put into this was connecting with-- at Chapman there's an excellent film program where students are developing and creating and directing their own, producing their own films. So that was part of the Reel Justice program. Transcribed by Michael De Maria and Aaron Williams 2 2024-01-25 �SARA SHEIKH-ARVIZU TRANSCRIPT, INTERVIEW 2023-03-30 Another one was a Peace and Earth Fair. So, it was also working with students who were in their student government, on a team called the Awareness Team. And so, they were also charged with doing programs that were more along the lines of awareness, raising awareness about justice was really the focus there. And so, they wanted to do a Peace and Earth Fair. And so, what was really cool about the way that they wanted to approach it, and they were kind of willing to explore was how do you align the purpose of the program with the process of the program? So, you know, if it's a Peace and Earth Fair and we're really focusing on earth justice, what kind of, what are we using? What are we, we're having tables out there, are we covering those tables with tablecloths? Are we covering them with something that we're gonna, you know, throw away? No! (laughs) So, really like going and going the extra mile to do research of, you know, how can we align this? How can we really show what this program is about in the way that we do it just as much as what's done. And then something that, two things that I was kind of proud of as well, that I think set the tone was starting to explore doing dialogue circles. So, something that I was hearing from more than more than a handful, particularly of white students, was saying, “I don't feel like I can be part of this conversation, this conversation about diversity, this conversation about equity, this conversation about social justice.” And my take is everyone can be part of this conversation and should be. And so, I created a dialogue circle that was really focused on opening space where folks could join, and be part of a conversation together. And it's really simple (laughs) in its, I don't know, in its purpose, was to just have this space. So, we put it out there, we collected people's schedules cause I didn't want schedules to be the thing that, you know, made people not able to participate in this conversation. We had a nine, it was like a nine or ten p.m. (laughs) dialogue circle that folks committed to, 'cause that's, those were the times that they were available and they were putting out there of like, “I wanna do it at this time.” And whew, as a non-student I was like, not exactly ready for a nine p.m. (laughs) dialogue. But that's when folks were available and wanted to participate. So, we did that and it really was just coming together in a circle, setting an intention and having this conversation where everybody was, could come and participate, and feel that sense of belonging to this conversation, belonging to this ideal of social justice. So those are some things that we tried to put together. I'm sure that there are more, but those are the ones that really stand out to me. De Maria: Very cool. And all of that sounds very foundational, so that's really awesome to hear. From that, I want to transition to discussing your involvement with the Cross-Cultural Center. Sheikh-Arvizu: Yeah. De Maria: So, I just wanted to ask, what led you to the Cross-Cultural Center at CSUSM, and why did you choose to depart from Chapman? Sheikh-Arvizu: Yeah, so the opportunity came about like any opportunity does. I wasn't necessarily looking for anything, but you know, saw something come through just on a, on a listserv (computerized list utilized by organizations to email advertisements). And so, I looked at it. Something that Chapman did not have at the time was a Cross-Cultural Center. There was no physical space. Even the Office of Social Justice that I was the program coordinator for, it was an office. It was my office with a door and a window, and that was it and my desk. So, there was no concept of that physical space. Community Transcribed by Michael De Maria and Aaron Williams 3 2024-01-25 �SARA SHEIKH-ARVIZU TRANSCRIPT, INTERVIEW 2023-03-30 looked very different, and ways to commune, to come together. It really was, you had to plan an event for people to come together. And so, I was really seeking to be in a space like that. Like the CrossCultural Center was named C3 at the time, (laughs) at Cal State San Marcos. And that's what I was seeking. There were, it was just a different kind of opportunity, a different way to build foundation and different kinds of opportunities as well. When I came in for my interview, you know I really was, I was taken aback in a very good way. Something that Dilcie (Perez), who was overseeing the (Cross-Cultural) Center and the Director of Student Life and Leadership at the time, something she wove into the interview, her interview with me, and I'm sure other candidates applying for the position was: “You know, we are a bit of pioneers here, so what does that look like for you?” And honestly, being asked that question just gave me a sense of there's opportunity here. There's an ability to have a vision, set a vision, and go for it. And I was really excited by that. I was excited that I was asked to think about that at an interview, not just when you know I, the day I started or whatnot. And that students were very much a center of the work. So, those things stood out to me. Different kind of opportunity and everything. Everything else that when people go for job interviews, all that excitement, energy that was there. De Maria: Very cool. And one thing that I'm kind of getting from our conversation is this theme of kind of laying down foundational work for others to build off of. Sheikh-Arvizu: Yeah. De Maria: So, that just gives me a little bit of insight about you and is also very inspiring. I want you to take me back to 2008 and just describe the social climate of CSU San Marcos at the time. I know that you're quoted in The Pride, the CSUSM newspaper, as kind of giving a little blurb about Facebook and the advent of social media with regards to organizing. And then, you also, or during that time, it was also the beginning of, essentially the beginning of the Obama administration. Sheikh-Arvizu: Right. De Maria: So again, just reiterating on the social climate of the campus. What was that like? What were you facing when you got into the role? Sheikh-Arvizu: Yeah, what was I facing when I got into the role? I think this is maybe less on the social climate, but also the professional climate that I was kind of stepping into as well. I think folks were feeling like: we're doing this work and it's not seen. And we're tired. It's so hard. We're not given, there's not a lot of resources and, or resources are hard to come by, you know whatever that looks like. And so, so I felt like there-- resources could be money, resources could be space, resources could be knowledge about, you know, what these centers could offer. So, a lot of different things when I say resources. And so, I think that there was a sense of, there's a lot of students who wanna feel like they belong, but don't quite feel like they belong. That's my sense of what the social climate, cultural climate really felt like. And I think in addition to that, there was sense of there's not enough of us, us in it. And again, there could be lots of definitions of “us.” There's not, there's not enough queer students, there's not enough students of color, there's not enough Black students specifically, to really feel like our voices are being Transcribed by Michael De Maria and Aaron Williams 4 2024-01-25 �SARA SHEIKH-ARVIZU TRANSCRIPT, INTERVIEW 2023-03-30 heard and seen and understood. And, you know, I love statistical data. And I also feel like stats are not everything. Because if you take stock, do a survey, do a you know climate some kind of climate survey, which we did, and the numbers come back; again just you know statistically, when a population is only one, two, three percent of the whole population or the everyone who took the survey, it's quote unquote not statistically significant. However, that does not mean that people's experiences are not significant. They most certainly are. And if we continue to move those experiences aside because they are not, quote unquote the majority, and as a group they never will be, because that's not the majority of people who are at Cal State San Marcos or so many places. So, I think that people were actually like feeling that. They were experiencing in real ways what, how we talk about data. I think that folks were experiencing that as people, right? They were feeling like they were not significant enough to the university or in their classroom. And I wanna balance that with, you know, it didn't mean-- there were a lot of folks that cared, but I think it was just a sense of like we're, we're here but people aren't listening, or people don't care. And we need change. And yet more people than quote unquote the “us” didn't see it. So yeah, that's what I feel like (laughs) the climate was. And I think for me as a professional, the other thing that I saw is that there were a lot of folks that were trying hard, I think that I said that at the beginning. They were trying really hard. They were putting a lot of effort in. And so for me, what I felt like I was seeing was all these individual spaces or people were trying really hard, but they weren't connecting. And so that is specifically what I came in feeling like, okay, this is what I wanna do (laughs). I wanna make some connections. I wanna work together. Because this sense of, if we all have this sense that we're not being, we're not strong enough or our voice isn't loud enough, or people aren't hearing us, or we know that we matter, but we don't feel like we belong, what can we do about that? And so, for me it was really important to start to make connections, work together, come together, develop programs together, (laughs) so that that voice is a collective voice. De Maria: I see. And thank you for kind of outlining the challenges that you faced stepping into the role kind of as it related to what I mentioned with the social climate. Sheikh-Arvizu: Yeah. De Maria: So, similar to my question about your experience at Chapman, I'd love to hear about some of your proudest accomplishments for the Cross-Cultural Center, that you were spearheading when you were there. Sheikh-Arvizu: Yeah. So, my time at Cross-- at Cal State San Marcos at the Cross-Cultural Center is like the little spark of my own candle that I feel like really continues to light what my professional career is, and it's because of the work that was done at San Marcos, the willingness, the people coming together. So, one of the programs that for me, I did have a vision for and also wanted folks to come together and envision together was the Social Justice Summit. And I know that it looks different now, as it should (laughs). It should not stay stagnant. That was never the intent. And however, but that's setting the foundation for having a multiple-day overnight retreat to talk, to unpack what social justice is, to unpack what the cycle of oppression and socialization look like, how it affects us, what we can do. That's what that program is about. And so for me, that was a program that I, like I said I had a vision for, but I Transcribed by Michael De Maria and Aaron Williams 5 2024-01-25 �SARA SHEIKH-ARVIZU TRANSCRIPT, INTERVIEW 2023-03-30 wanted folks to come together and have this vision together and expand. It wasn't just about my vision. So, I worked with, at the time Rodger D’Andreas, who was the Director of the LGBTQ Pride Center. And I believe at the time briefly, he was also overseeing the Women's (and Gender Equity) Center, which I know is differently named now. Do you know what the name of that center is, Michael? De Maria: I, I—(interruption) Sheikh-Arvizu: It's okay if you don't! De Maria: I cannot recall it off the top of my head, unfortunately. Sheikh-Arvizu: That's okay. So, we'll just continue to call it the Women's Center because that's what I knew it as at the time. And, then other folks on campus and students coming together and saying, “Hey, this is this thought. What do you think? How can we do this? When can we do this? What would it look like? Let's develop essentially the curriculum.” And so, it was a-- people liked it. They wanted to be a part of it. They wanted to come, they wanted to be part of the committee, (laughs) they wanted to come. It was a great success. It was like one of those things where I feel like we were able to read what the social climate was and actually meet a need that was there. The need to come together, the need to know and see and understand that we weren't all alone. That there is actually a community that cares about a lot of these same things. And then this other piece of, now all of a sudden we had more language, we had more examples we had, and I say “we” cause I think that that is the important part. That was the important part, was that (clears throat). Excuse me. Folks did feel like a “we,” felt like there was a community. They could come together. So Social Justice Summit, and quickly I knew that, okay next year when we do this, we need to have student facilitators. It's not just about all of the staff and faculty coming together, teaching students. That's what, that's what happens every day in the classroom. But to have this kind of co-model of students and staff and faculty coming together to lead sessions, to lead dialogues, to conduct training together, conduct this Social Justice Summit together. And so, we started doing that as well the next year and just continuing to have a vision for what could be the future all the time. So that was a program. Something that was incredibly important to me was working together with other social centers, and to talk about what is this? What does social justice look like? Because if we're, if we're not working together then we're only really focusing on one kind of oppression. And when oppression, when one of us are affected by oppression, we all are. And there's not just one type of oppression. So I was, I feel so lucky that the professional staff and the student staff were so willing to come together. To come together to do trainings together, to come together to do programs together. Cafe La Paz was a program that came together where we opened one of the centers a week (at night). And that sounds kind of like, so what? (laughs) But it was really important because no center was open late at night. There was no space open at night for students. Now there's a student center (University Student Union) and it probably looks different. I'm imagining it looks different. I have been on campus, not at night though, since but it, the vibe is different now. But at the time, that wasn't the case. It was like five o'clock everyone's closed. And so, students were really saying, “We want a space to be, we're still here, we're still taking classes, or we're waiting for our next class. Like, but you're closed.” So, we tried to do that. Transcribed by Michael De Maria and Aaron Williams 6 2024-01-25 �SARA SHEIKH-ARVIZU TRANSCRIPT, INTERVIEW 2023-03-30 Started with the once-a-week thing, and with the concept of rotating the center that was open so that again, this idea of community could continue to grow. So, Cafe La Paz grew out of that, that thought process. And it was a student run program. Professional staff weren't a part of it. We had a student from each of the centers who planned that week's or, oh gosh, I don't even know what time, I believe that week’s or that month's you know, Cafe La Paz was gonna be open late night. So, they planned what was gonna happen, what's the component from all three centers, what are we focusing on? What's the food, what's the, you know everything. So they really did that. And made sure that people showed up (laughs). And then for me, other things that... There's a lot of things that stand out, but for me, that central kind of line was making connections. So, making sure that faculty knew just as much about the Cross-Cultural Center and the social justice centers as staff did. That other offices did, that orientation did. And that we could start to be seen as a space where everyone was welcome. And that was really important to me. Again, back to that sense of, I started my career in social justice because I didn't feel like I belonged. And so, I wanted to continue to create opportunities and spaces where people felt like they could belong and connect no matter where they quote unquote were, right? On their own social justice journey. So, we did a trivia program and that came directly from (when) a student and I went to a conference. We heard a speaker talk about this idea of history and people of color having this history that's there, but it's totally, it's unknown in the U.S. (United States of America). When you, when you ask folks, you know U.S. history, anything about U.S. history, it's like this laundry list and it's all focused on the White center, right? And so, we were like, what would this, what would it look like if we started to actually know other kind, other histories that are not this list that everyone quote unquote knows and learns. Can we focus outside of the center? And so we did, we developed a (laughs), a multicultural trivia program. Again, it was meant as a thing of like, how can we connect? If folks don't want to come together, go to a Social Justice Summit for three days, that's not their thing, but they wanna do some trivia. Let's go it, let's do it. Right? So just trying to meet people in the space that they want to be in, or that's intriguing to them. And we did, we had some folks that came to trivia but never came to anything else. And that is totally fine because what we gained from that is someone who's still connected, still saying, “Oh this is important to learn. I'm excited to learn this because I'm showing up. And I have pizza, both.” (laughs) I think sometimes we, like in my profession in higher ed, when I was working in higher ed, we focus on the food a lot, a lot, a lot. And I actually think that the program stood on its own without pizza because people still participated. They didn't just show up for pizza and sit there and eat their pizza. They came, they got some pizza, they participated in the program. And really got into it (laughs). And we had zero prizes. It was a clap, like, “Yay, team four, you did it! You were the winners.” That's it. That's all you got. So it was really just like the experience of being there, coming together, having this fun, fun lunch. Which was very cool. De Maria: Very cool. So, just my takeaway from hearing about those programs, with regards to the summit in particular, it sounds like you were making a big impact on an issue that was more of a qualitative nature or difficult to quantify. And that also kind of shines through with the other examples of Cafe La Paz as well as those, that trivia program. In our introductory call, you also mentioned to me the importance of the student staff kind of being the lifeblood of the organization and providing tremendous assistance to you in a leadership position as well as other leaders. So, I just wanted to know Transcribed by Michael De Maria and Aaron Williams 7 2024-01-25 �SARA SHEIKH-ARVIZU TRANSCRIPT, INTERVIEW 2023-03-30 about some of the ways that you empowered your student staff, and maybe what that experience was like. Sheikh-Arvizu: Oh, I loved working with students. You know, my approach to empowering my staff was to listen. It was to open up the opportunity for them to think and explore and discuss and I always consider myself a yes person. I really like ideas. I love to see how an idea could turn into something real. And so, I really just encourage my staff to do the same. There are some moments with student staff that really stand out to me and I hope that folks will be okay (with) me talking about them. But having a staff member, this is prior to them being a staff member, 'cause it was an interview. Actually I have two interview moments that really stand out to me. But one was with a staff member in his interview and two of us interviewed him. We asked the questions and this student really struggled with the language. Was you know, (unclear) defining and using terms that we generally feel like is important. However, he had amazing experiences (and) connections. He was making these connections but did not have the terminology. So, it was like you know, the other person who did the interview was like, “I don't know, they don't seem like a good fit. They don't have this knowledge.” And I'm like, “Yes, yes. They have the knowledge. They have the knowledge because let's look back at all of these examples they were able to give. They are on point, they get it.” And I think that's what a lot of students are experiencing. They understand what's going on. They have the experiences and we can help put some of those words together. That's not a problem in my mind. And so, when I made the offer to this student, I think it was a little bit of a surprise 'cause I don't think that they thought they had a good interview. Because all things considered they didn't (laugh)! You know, like they stumbled through questions, all of that stuff. But, I think for me it was just being able to see something and then telling them, telling students like, “Hey, I see this in you. You talked about this. Tell me more about it. You mentioned this. Tell me more about that.” And just opening that space to get to know them, get to understand some of their experiences and what they wanted to do with that or how they wanted to make an impact. The other thing that I tried to do right away was make sure that all of the student staff, and if we had interns, anyone, anyone who was like working in some way, shape or form for the Cross-Cultural Center to open up opportunities for them to be elsewhere on campus, on committees. I had students chair committees and I had supervisors who were really nervous about that. And at times I was nervous about that too. But I felt like, “Okay, if folks are nervous about that, let's explore what the nervousness is about and also let's ensure that whatever they're nervous about isn't gonna happen. And even if it does, it's okay.” But just coming from the perspective of like, I just wanted to open up opportunities for students to be seen, to be heard, to have a voice, to lead. And essentially that's it. Because I really like ideas. We also shifted to a new space (laughs) during my tenure. And so, with in that move it allowed us the opportunity to say, “Oh, let's look around. What is this new space we're in? What could it be?” And it really was working with them on defining what it could be. And so, I think when they experienced that, what their thoughts were, their ideas mattered, and we-- and they could actually see it happen. Then to me they felt empowered to do more, to do differently, to take risks to also see themselves as leaders. And that, to me was the point. De Maria: That's very cool. (both laugh). Kind of going off of that, I mean, obviously we've been talking about your experience at the Cross-Cultural Center in depth. But in your own opinion, or in your own words, what was your favorite memory? Transcribed by Michael De Maria and Aaron Williams 8 2024-01-25 �SARA SHEIKH-ARVIZU TRANSCRIPT, INTERVIEW 2023-03-30 Sheikh-Arvizu: Favorite memory? Well, you know, I left-- there's two and one is (a) very tiny moment, but it has significance to me. And one feels like a big thing. I was driving home after the first Social Justice Summit. I'm a complete introvert. So being with people, I have to focus a lot of attention and energy to really be present. And I was just at a three-day retreat with, you know, fifty people (laughs). So, I'm driving home by myself. I have the windows rolled down, no music because I cannot handle more like input after the weekend. That I was like thinking and saying to myself in my quiet car, “That was amazing! And there's so much we could do with this program in the future.” Like my, I know that I'm sharing a memory that was by myself, but it really wasn't the memory of me being by myself. It was the memory of this amazing program and the way that we as staff were able to shift in the moment based on what we saw, what we ha-- what happened, and the flexibility there. And then the students in watching their transformation in just three days of you know, there was an evaluation that I had read before I left as well. And it was like, “I did not believe. I did not believe that you were gonna pull this off!” Right? Like, that's the beginning of the evaluation. Like, I'm sitting in session, I was sitting in session one and I didn't think it was gonna go anywhere. And then they continued to write, and then this happened and this happened and this happened and this was a great experience. And I was like, wow! To both be able to write like this criticism of like, I didn't think this was gonna go well, to this really changed my perspective. Was (laughs) it was a great moment kind of collectively, individually. I feel like I'm not doing a very good job actually expressing what I was feeling about this, very awesome moment. But, that's where it was. I was like literally in my car, just processing this entire, the entire weekend in the moment. But then, in the processing also feeling, “Wow, I have so much energy and I have so much, there's so much more we could give to this program. There's more we can do.” And being excited to do that, even though it was gonna be a year later (laughs). And then another moment was small, like I said. Totally different person (laughs) interviewing, getting ready to interview, because they wanted to work for the Cross-Cultural Center. And he walks in, he has a shirt, a tie, and his baseball hat, which he always wore. And I was like, okay, this is awesome. I'm interviewing him. Well, later I find out that his peers coached him on how to interview. And that for me was the moment of like, it's a great memory because the community was taking care of one another. He was ready to walk in, in like a t-shirt that he wears every single day, which really, in a lot of spaces that's okay. But his peers were saying, “No, you gotta step this up. You know, this is an interview. It's different, it's different than just walking into the Cross-Cultural Center every day.” And at the same time, he wanted to be himself cause they were encouraging him not to wear his hat, but he kept his hat on. That was part of him. Someone else gave him the tie, right? Like this was literally all (laughs), the community was caring for one another in that moment. And so, I was just so proud of folks coming together and I was proud of him for keeping his identity as part of something that he wanted to be present at the interview. Right? So, I don't know, those were my two moments of like, it, they just really stood out for very different reasons. (laughs) De Maria: No, I completely get that. And I think, another challenge that we seem to be getting back to is the quantitative versus qualitative issue. Especially with subjects as profound as this, where people might not be represented. So sometimes that qualitative evidence is also very powerful to see in action. So that's super cool. Next, I wanted to, and again, previously you described your experience at the Cross-Cultural Center as kind of being the spark that fueled the rest of your career. So, this is again kind Transcribed by Michael De Maria and Aaron Williams 9 2024-01-25 �SARA SHEIKH-ARVIZU TRANSCRIPT, INTERVIEW 2023-03-30 of like an abstract question, but I wanted to know just how the Cross-Cultural Center helped you develop as a professional and further that journey? Sheikh-Arvizu: That's a great question. And also, I love abstract questions. (laughs) For me, I think part of me felt like I couldn't do it, be in that position, oversee and manage the Cross-Cultural Center. Because I had never worked in a Cross-Cultural Center before. And I had never been part of a student organization before (laughs). Particularly as it relates to, as it related to my identity. And so, part of me felt like, I don't know like I'm doing this work, but it kind of feels like I'm not doing this work. And at the same time, I also knew in my gut I could. It was just like fighting with my own perception of how other people might have perceived me, right? All in my head, but also all in my heart, right? Like, my experience as a person, as a human being, as a mixed-race person, as a queer person. I'm sitting in all these spaces where it's like, I don't often hear that I belong and I can do it. I could do this, I could do this thing that maybe it doesn't seem I'm really qualified for. And so, what the spark was, was I feel like I sort of came into my own power of I can do this and I don't have to be the center. I never really connected with this sense of a leader is someone at the front. They're taking the podium, they have the microphone, they can be seen, they are the first on the list for people to invite. Like I wasn't, I didn't subscribe to that kind of leadership. And so, I felt I could do my kind of leadership and I could also see other people's kind of leadership and say, “Do it! Do your kind of leadership, do it your way.” And I didn't feel I had to prove myself and say, “I am the center stage. This is my program!” No, it wasn't (laughs). I literally did not set structures like that where I was the one leading the program. I was the center. It really was let's do this together, or let me support you (laughs). It's not mine, it's yours. This is your idea. You carry it. Let's figure out how to do it. And, I think that what I learned was I could have a vision. I did have a vision for the Cross-Cultural Center and I could have that vision with other people. And I, that was really, really revolutionary to me that I could have a vision and we could have a shared vision together. And it didn't have to be so individualized. That does not seem like the rest of the culture around me, that does not seem like what it means to be in American society. And so I really held onto that. I still hold onto that, that sense of like, it's better when we do it together. It's better when we have a vision for this together. It's better when we can see our differences and learn what that means. Learn why things matter differently. Learn to take on perspectives that are different from you. So, it felt like I learned a lot during that process. It felt like I set a foundation for myself professionally, not just for that space, the Cross-Cultural Center as a space, as a community and things like that. I felt like I wanted to live what I said my values were. And that was the place that I feel like my alignment was really, really close. De Maria: Very, very cool. Going off of that line of questioning just about you as a professional, and kind of what you took from the experience, I know that you're currently working with OC (Orange County) Human Relations (Commission) on several projects. So, I just wanted to know how your experiences with Cross-Cultural Center influenced the programs that you're working on currently. And maybe what some of those programs are (both laugh). Sheikh-Arvizu: Yeah. Well, so I am a training specialist in Orange County Human Relations, (laughs). By the time this oral history project is done, we likely will have a different name as an organization (laughs). Okay. So it'll be a little bit obsolete, but that's okay. It is what it is. I, and I just started in my role. I was in Transcribed by Michael De Maria and Aaron Williams 10 2024-01-25 �SARA SHEIKH-ARVIZU TRANSCRIPT, INTERVIEW 2023-03-30 a different role prior. So, some things that I've done in the organization that I feel like do have a connection to Cal State San Marcos, and working at the Cross- Cultural Center; I'm training and I'm coaching folks on how to align who you say you are and how you do that work, right? So, we say diversity and equity and inclusion and belonging are all important to us and are important to us in our organization, are important to us in our school, our school district, or in our community? Okay! How do you do that? What does that look like? How do you measure that? Right? So, I feel like I asked very pointed questions right then like boom, boom, boom, right? And lots of times it's more gentle. It's, and also lots of times it's a lot of different kinds of questions. So, what I feel like is the connection for me, from (CSU) San Marcos is this idea of well, when you have a vision (you) have to be able to figure out how to put things in place, right? So, if we have the vision of, living in a community that values equity and enacts, that is an equitable place, then we need to do some hard work. And sometimes that hard work could be training, sometimes that hard work could be conversations and dialogues. Sometimes that hard work is assessing how hate and hate incidents and crimes are impacting our community. And that's all work that I feel like I'm touching or part of directly at Orange County Human Relations. And pulling community together I think is kind of the other theme. On a college campus community is, tends to be the college community or the community of students in particular. So, it's like this little bubble of, you know, built-in community. But working at Orange County Human Relations, that is not just built in. And, you know: timing, availability, interest, money, all of that. Funding, I should say, more than money. Right, all of that plays a role. And so, but still figuring out how do we come together and have a common vision. Literally just went through with a group on writing a mission statement (laughs). So, you know, creating that vision and also laying out how do we do this? This is who we say we are, how do we do it? De Maria: Very, very cool. I do have a few more questions left. And all of them are more about sort of the future of the Cross-Cultural Center and possibly social justice in general. But looking ahead, what aspirations do you have for future students who interact with the Cross-Cultural Center? Want to get involved? Sheikh-Arvizu: I feel like I would just want students to, to try it out. I mean community is really what we make it to be. And it's a we. So, if as a person, if right, if you're seeking community wherever you are, is where community can be. And it means, and it means stepping in, it means taking a risk. It means saying hi. It means going to a program. It means just seeing yourself there. That's all very abstract (laughs), but I think, you know, there's lots of places to connect and find community. You can connect and find community in the chem lab that you're working in, right? Or researching in or studying in. And, and I think for me, the Cross-Cultural Center is a different kind of community in that you can kind of go back and forth between exploring common interests and activities and also talking about how oppression, racism, sexism, identity, politics, how that plays a role in your life. And feel like oh, actually these other folks get it. I don't have to explain that much. And they're here with me for me. And, and we can eat fries together. It just spans so many different kinds of ways to connect. And I think, you know, if you're looking for multiple ways to connect, it's a great way, it's a great space! I would say any identity-based space is a great space cause it's like the opportunity to feel connected to other people, to other identities, to your own identity. And also potentially other things like music, food, we can go play sports Transcribed by Michael De Maria and Aaron Williams 11 2024-01-25 �SARA SHEIKH-ARVIZU TRANSCRIPT, INTERVIEW 2023-03-30 together, you know, whatever that is. Yeah, I think that everyone needs, that needs to feel a sense of validation. And for me, I think identity spaces, social justice spaces are spaces where that can happen. De Maria: I think that's beautiful. Sheikh-Arvizu: Are you okay? You this like—(interruption) De Maria: I'm complete. I'm completely fine. Sheikh-Arvizu: Okay. De Maria: Just very, very profound experiences that you're sharing with me that I really appreciate. De Maria: So, regarding my next line of questioning, I also wanted to ask you about what communities you feel might be currently underrepresented on our campus, or possibly bringing some attention to some underrepresented communities that you're currently working with. Sheikh-Arvizu: Yeah. Ooh, great question. I cannot possibly answer that question (laughs), because I'm not there and I have not looked, I've not really walked on campus. I haven't looked at any demographics at all again, like that like I can look at paper, I can look at numbers. However, I think that your last add in there to the question, like populations that I'm also working with you know. I think that... I, last year was charged with writing our hate crime report for the on behalf of the county and, something that I feel like were like central communities that were really impacted. And I personally feel like in the report, but I'm sure out of the report, beyond the report, the depth is much greater and could never be captured in a report. It was the Black community; so small, percentage wise, right? In the county. And I'm in Orange County right now so, the Black population is about two, sometimes three percent of the whole population of Orange County. But the number of hate incidents and crimes that are because of Black hate, right? Is completely disproportionate, is like exponentially disproportionate. And so really focusing on seeing that community other communities as well. I feel like numbers keep rising for anti-Asian hate and Latinx hate. I feel like numbers... numbers, incidents, experiences, uh, like a little snippet of like media also capturing this rise also in numbers and gravity of anti-LGBTQ hate, and anti-Semitic hate and like how that, that actually as a center for lots of different kinds of hate, kind of like, it looks like what it looks like to the eye. And folks maybe particularly not in the Jewish community where, it's like you could see a swastika and also the n-word both at the same time, right? Graffiti somewhere and it's like, so is that anti-Semitic? Is that anti-black? Like what is that? Whew. And unpacking that is like so much I think for folks, I don't think it's so much for the Black community or the Jewish community, or the Black Jewish community both, right? To unpack. But I think for a lot of other folks it's like, “What kind of hate is that? How do we describe it? Why? Why is this, what is this connection?” But it's really important that we do unpack it, we do explore it, we do start to understand what that means and why, and how it's progressing. It really scares me that we are in a time of, where in the country, that history is being removed, that literally people's histories are being removed, people's existence are being removed from curriculum. And that's really scary to me. That did not exactly answer your question, but I think for me there was a connection there. Transcribed by Michael De Maria and Aaron Williams 12 2024-01-25 �SARA SHEIKH-ARVIZU TRANSCRIPT, INTERVIEW 2023-03-30 De Maria: It did answer my question very thoroughly actually. So thank you. And I've got two more questions left to kind of wrap up the interview. But first I just wanted to ask you what direction you think the Cross-Cultural Center should grow in? Sheikh-Arvizu: Oh, also one that I do not feel equipped. So I was only there for like, two and a half years? Pretty small. And there, both on campus and with the Cross-Cultural Center, the Cross-Cultural Center is in a different space even than it was when I was there. I was there for two spaces and I was there to advocate for how much physical space the next Cross-Cultural Center should occupy. So, it is now in that space and now there are more identity spaces, more cultural spaces and centers. And for me, I think with the work that I'm doing now, it still has a collaborative communal coming together need. And I would hope that that's what's happening now too, for the Cross-Cultural Center, right? But there, that the Cross-Cultural Center, the students, the staff, are working with other centers and other spaces and other student organizations and there's connections. That's what I, that's what I, I don't know, future, future (laughs). But I think it's really important to come together. I think it's also really important to make statements, so people know that they're supported. And I think that this is not necessarily just about the Cross-Cultural Center specific space or leadership there; it's like a broader everywhere that we look to leaders in positional, with positional power, specifically with titles, right? Like presidents, vice presidents, you know, whatever the titles are directors. We look to them, we expect that, we expect to hear from them when something affects the community. And I would encourage that to happen. Right? The-- I am not criticizing anything at all. I'm just saying it should happen, period. If it is awesome, because hopefully what that means is that students feel like they do belong and there's, there's connection there. And they're safe. They're safe in who they are. They're safe in their identity, they're safe to be and belong. And so that I think is important. To take a stand, to say something, right? To say, “We care to say this is not okay here.” If there is hate or if there is, and I say “if,” and really I know that it happens. It's there. It is there, it's everywhere. So yeah, just making sure people feel like they matter, individuals and communities. De Maria: Totally. And wrapping things up, again you continuously kind of reference this process of learning, which is an extremely important part of understanding social justice and also participating in it. Whether that's learning about somebody else's culture, learning how to communicate about someone else's culture to them, or learning how to ultimately take a stand and become a voice in your community. With that being said, if someone were interested in pursuing a career in social justice much like yourself, what tips would you give them? Sheikh-Arvizu: Wow. I think for me, having that sort of like home-base community or people is really important. Folks that you can say, “Hey, this is happening and I don't get it, or I feel like I messed up,” or “What am I missing?” It's really important to have those people in your life! Particularly doing social justice work, because social justice work is hard and it is literally every day. It could be your, the, you know, quote unquote nine to five, like what you're doing during the day, and then you go pick up some dinner and somehow there's still some like quote unquote “social justice work” that needs to be done there (laughs). So it doesn't necessarily, there's not like a timeline like, oh, it's five o'clock, I'm not doing this work anymore. So I think to like have, have your people, whoever those people are, people that you can count on, people that can support you, people that can listen, people that can challenge you, people Transcribed by Michael De Maria and Aaron Williams 13 2024-01-25 �SARA SHEIKH-ARVIZU TRANSCRIPT, INTERVIEW 2023-03-30 that can show you a different perspective. And those people should not look like you. Not all of them, maybe some of them. They should-- and when I say look like you, I don't exactly just mean look like you, I mean look like you, think like you, have the same identity markers as you do, or if not like you like one kind of person, right? And to kind of do that inventory and see like what perspectives am I missing in my own life, in my professional life. I think don't be scared (laughs). Don't be scared to be the learner as much as the teacher or trainer or coach. Sometimes I feel like my career was like poking a stick. I was like, look at this (laughs, waves imaginary stick in air), right? Like, look at this thing, what's happening? And I wanted people to see, and you know what? There was certainly a place for that. There's a place for that in my career. I felt like the organization, you know, needed that at the time or different organizations, more than one, right? Needed to see what was happening! And I, what I appreciate now in my career too, and where I am, is that other folks can do that. I can still do that and it might look and sound a little bit different than it did when I was in my early career (laughs), in my career at Cal State San Marcos, where I could say, “Look at this! This is a problem!” And, or I could hear it from a student, I could say, “Then say that, right?” Like, you go do it. “Say that somewhere. Uh, your voice is powerful.” So I think like those lessons I, for someone who wants to get to get into social justice or stay, it doesn't mean you're not in a social justice like job career focus already, is to know your way, right? Know your power, find your power, explore it, see, you know, what works where. And it might be different tactics in different places, and I think it's important to test it out and to lean into other people, to um, you know, see if they could be more effective or more effective with you together. I think too that, you know, for a lot of folks it won't feel like social justice is the center of your work. It won't! You might be doing something else. It doesn't mean that you have to discard social justice or the idea or goal of equity. You don't have to toss it away. It can still be part of your work. There's a lot of like individual things that you can do. There's a lot of cultural things that you can do that, where it can still be central to the way you think about your work, to the way you approach your work, to the way you approach outside of the workplace. I'm now a parent. The way you approach parenting to the way (laugh). Like, I know for me, like what a mind-shift of like, oh, I value this in my work and in my life, but now I have a young human and they are doing things I did not expect! But am I doing things that I didn't expect with my values in social justice and equity with my values in listening and opening up space? Whew. That's hard (laughs). And it's hard, I know I'm framing it in this parent space, but also it's hard when you're in other workplaces again, where social justice might not be the center of the work that you're doing, but it's like, I'm in this organization and like I don't feel like I'm showing up as mys-- As the self I want to or I'm not being supported. Sometimes that means it's okay to leave. It is okay to leave! It's also okay to stay and challenge if that's what you have the capacity for. And you should, if you have the capacity for that or that's what drives you, then do it. Do it that way. If you do not have the capacity or it is a toxic environment, it is okay to leave. And continue your social justice work somewhere else in another space. It can look different. It's okay (laughs). It's not like you don't have to constantly struggle all the time or feel like you don't belong, or that you don't matter at all in a space that's not-- I mean those organizations need to change and do better and do different, but it doesn't mean that you have to be the, you don't have to bear the brunt of that work that they're not really ready to do. Transcribed by Michael De Maria and Aaron Williams 14 2024-01-25 �SARA SHEIKH-ARVIZU TRANSCRIPT, INTERVIEW 2023-03-30 I was all over the place with that (laughs), but the, the, the thought of a career in social justice is, like... my thought before my career began in social justice is very different than what my career has been. And so that's where I feel like I have a lot of different like, thoughts of what that can mean for folks. And it can be so different based on the person and your identities and the institutions that you are in. Right? And who even is your network of people, or what's needed in the organ-- in different organizations. I thought I was a great fit for other jobs. I was not. I was not selected. There were other people out there who are doing this work, so also connect. It's okay! They're, they wanna do this work too. They're qualified to do this work. Like, so that sense of like leaving competition out. I dunno. Or putting it in check. De Maria: Very, very cool. I think based on those tips as well as the other information you shared with me, you're an excellent resource for someone who's interested in going into the social justice field. So I really appreciate you taking time out today, Sara, and speak to me about your involvement in the CrossCultural Center as well as some of the work that you're doing now. And I think this is gonna be a great resource for anyone trying to learn more about social justice initiatives in their community and how to get involved as well as the history of the Cross-Cultural Center itself. So just wanted to thank you again for taking time out to speak to me about this. This has been a very, very special, special interview. Sheikh-Arvizu: Of course. And I'm here, I'm still here. We have Zoom, we have phone calls, we have, there's so many ways to connect. So yes, if I'm a resource for someone that's listening or watching (laughs) in the future, but you wanna make a connection that's open, like that's available too, right? And I, and I'm pretty sure that, that, I hope, and I'm sure it will stand for other folks that are part of this project and that's why we wanna be part of this project, right? Like not just for the history component, but the future component, which is important. De Maria: Absolutely. Well, we obviously appreciate it. Again, thank you for your time and yeah, I know this isn't the end of your journey. So, (I’m) very excited to see what else you go on to do in your career and what other the communities you’ll impact. Sheikh-Arvizu: Yeah, thank you Michael. Thank you. And for inviting me to be part of this. Transcribed by Michael De Maria and Aaron Williams 15 2024-01-25 � 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 Sheikh-Arvizu, Sara. Interview transcript March 30, 2023. Description An account of the resource Sara Sheikh-Arvizu was Assistant Director of the Cross-Cultural Center at California State University San Marcos from 2008 to 2011. In this interview, Sara discusses her roles at CSUSM and the various programs she initiated or facilitated. Sara also briefly discusses her current work with Orange County Human Relations. This oral history was made possible in collaboration with the Cross-Cultural Center and with generous funding from the Instructionally Related Activities fund. Creator An entity primarily responsible for making the resource Sara Sheikh-Arvizu Contributor An entity responsible for making contributions to the resource Michael De Maria Aaron Williams Date A point or period of time associated with an event in the lifecycle of the resource 2023-03-30 Subject The topic of the resource California State University San Marcos. Cross-Cultural Center Chapman University Civil rights Education, Higher LGBTQ+ activism LGBTQ+ life Orange County Human Relations Commission (Orange County, Calif.) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Orange County (Calif.) 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 https://rightsstatements.org/page/InC/1.0/?language=en Rights Holder A person or organization owning or managing rights over the resource. Sara Sheikh-Arvizu 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> Format The file format, physical medium, or dimensions of the resource text Identifier An unambiguous reference to the resource within a given context Shiekh-ArvizuSara_DeMariaMichael_2023-03-30 Activists and activism Cross-Cultural Center oral history project CSUSM history LGBTQIA+ experience 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 Judith Downie Interviewee The person(s) being interviewed Jeff Bagby 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=BagbyJeffAndDande_DownieJudith_2018-02-21_access.xml OHMS Object Text This field contains the OHMS Index and / or Transcript and is what makes the contents of the OHMS object searchable in Omeka 5.4 Bagby, Jeff and Dande. Interview February 21, 2018 SC027-053 01:43:40 SC027 California State University San Marcos University Library Special Collections oral history collection CSUSM csusm Bagby Beer Company (Oceanside, Calif.) ; Brewers -- California -- San Diego County. ; Brewing industry -- California -- History. ; Microbreweries -- California -- San Diego County. Jeff Bagby Dande Bagby Judith Downie wav BagbyJeffAndDande_DownieJudith_2018-02-21_access.wav 2.0:|41(19)|72(13)|103(3)|151(11)|178(14)|221(15)|243(5)|289(4)|324(6)|347(16)|379(11)|410(7)|445(4)|482(14)|520(6)|552(9)|599(3)|638(13)|690(5)|734(8)|778(14)|816(6)|852(16)|878(9)|908(9)|934(6)|967(13)|1020(9)|1072(7)|1110(6)|1143(5)|1193(13)|1230(4)|1305(12)|1351(6)|1413(11)|1446(14)|1495(8)|1528(9)|1557(6)|1579(6)|1605(14)|1638(15)|1679(13)|1708(9)|1739(16)|1769(10)|1804(11)|1855(11)|1906(12)|1941(10)|1981(16) 0 https://archivesoralhistories.csusm.edu/files/original/a2147e643ec83629c21ffe9df0d387b8.wav Other audio English oral history Bagby Beer Company emphasizes traditional style beers, a craft cocktail program, and a restaurant menu to complement their beers. Over the years, Bagby Beer featured highly admired and hard-to-find American and European beers such as Bierstadt Lagerhaus (Denver, CO) and Brasserie d’Orval (Belgium) to complement their lineup. Built on the site of a former car dealership (among other businesses), the Bagbys closely oversaw the construction from the ground up which opened in 2014. The site was also host to the Brewbies® cancer awareness beer festival (2015-2022) and the Low and Slow Lager Festival among other fund raising and educational events. Bagby Beer sold to Green Cheek Beer Company of Costa Mesa, CA in early 2024. &#13 ; &#13 ; Jeff and Dande Bagby are the founders and owners of Bagby Beer Company in Oceanside, CA. Holly Sweat is Publicist at Katalyst Public Relations. &#13 ; &#13 ; Jeff Bagby’s role was as head brewer and leading the on-site Beerleaders brewing education program. Jeff’s brewery experience includes Stone Brewing, White Labs, and Oggi’s Pizza and Brewing. His last brewery before opening Bagby Beer was Pizza Port, leading brewing operations for the chain from the Carlsbad location. During his time at Pizza Port, he led the team to win notable awards and medals such as the World Beer Cup and the Great American Beer Festival’s brewery and brewer awards multiple times. He is one of the most awarded San Diego region brewers, notably garnering more GABF Alpha King Challenge awards for best hoppiest beer in the United States than anyone to date (2005, 2010 and 2011.) He left Pizza Port in 2011 to devote his energy to finding a site for a brewery/restaurant in the San Diego North County beach area. With the sale of Bagby’s to Green Cheek Beer, he remains as the brewer and continues to focus on lagers and traditional styles. &#13 ; &#13 ; Dande Bagby worked as Director of Operations including marketing and customer experience. She designed much of the building. Her employment background includes the San Diego Zoological Society, education, environmental science, restaurant and craft beer bar management, and marketing and finance responsibilities for multimillion-dollar budgets at a Fortune 500 company. She remains active in the transition to Green Cheek Beer Company at this time. &#13 ; &#13 ; In their 2018 interview, Jeff and Dande discuss their introduction to craft beer ; homebrewing ; introduction of craft beer to the region ; Jeff’s entry into the profession in the late 1990s ; challenges and responsibilities of founding and building a brewery ; packaging and distribution ; charity work ; competitions, judging, and awards ; consumer education. Holly Sweat: Is this my copy or is this your copy? (Sweat referring to printed list of questions.) Judith Downie: You can certainly have that because I am just going to let Jeff and Dande, you know, tell me what they want because that is just a list of ideas. You certainly do not have to address anything if you feel like it is giving away company secrets or you are just not comfortable or you just forget about it and tell me something else equally interesting and informative. That’s great. I love to record what I can get. So, you know, it sounds Dande like you maybe got into this a little after Greg did. Excuse me, Greg--I just said Greg. After Jeff did. So maybe we start with Jeff talking about how did he become interested in beer or how did he get into the beer industry and--? Jeff Bagby: Okay. Yeah, so let's see. I started liking bitter beer, I don’t know, at high school, younger age. It just was something that my friends and I found--a couple of friends--who really liked the flavors. Liked the idea-- Downie: Now, were you in this area or where were you--? J Bagby: Yeah, I was born and raised in Encinitas. So, San Diego native. Downie: Okay. J Bagby: So yeah, around here. And, actually when I graduated high school, I bought that friend in particular a homebrew set for his birthday. And so, we both messed around and that was my first homebrewing foray, whatever you want to call it. Downie: Now where did you find your supplies for homebrewing up? J Bagby: Yeah, that is what I was going to say. So, you know, that's the age before the internet and cell phones and things of that nature. So, there is no-- Downie: Do you want to give me an approximate year? J Bagby: Uh, (19)93. Downie: Okay. J Bagby: (19)92, (19)93, (19)94, somewhere in there. And, so we had known a little bit, we had heard a little bit, we had tried to go and fish beer from establishments even though we were not of age yet. But at homebrew shop you can buy anything without an ID. So, at least back then you could. So, we Homebrew Mart in Solana Beach. That's where I first met Yusef (Cherney) was actually the one that sold me the kit. Then he went on obviously to do his thing. So, kind of a cool connect there and then they kind of keep happening as time goes on. But, yeah, so we just messed around really. I mean, we re-read things, read books. Talked to brewers when we could, when we traveled, things like that. We ended up going to school together where we got more into it. We were doing all-grain batches and keeping a beer on tap at our house all the time, as well as beers like Sierra Nevada (Brewing Co.), Anchor Steam (Beer), Original Pizza, Wicked, Red Nectar, some of the Sam(uel) Adams beers. I don’t, what else we could get our hands on that we felt was better. (laughs) Downie: Now was there a bottle shop anywhere nearby where you could (unintelligible)? J Bagby: There was a few. There was in Encinitas and downtown there was Cork and Keg (Cork and Keg Liquors). There was a couple in sort of the Kearny Mesa area that were known for having, you know, hundreds of bottles and typically they were not very good. But we did not necessarily know that at the time (Downie laughs) because we didn’t know what we were tasting and not tasting. Downie: Right. Yeah. J Bagby: I did not know that some of these beers, well, they'd been sitting around on these shelves warm for, you know, a couple of years. Some of them survived perfectly fine. And most of them, you know, like, “Oh, that's what that tastes like, that's kind of weird”. So, when we can find fresh things or more exciting flavors, that was obviously a fun thing. And yeah, just like, I think anybody did back in the nineties, when you found a new bottle of beer, you kept it, or you kind of talked about it and told your friends, “Hey, I tried this, blah-blah-blah.” It was, you know, I was rating beer before there was the internet, before there was, you know, these things that we are so attached to. So yeah, that is kind of where the appreciation started and, you know, throughout college, like I said, wherever, I would go and travel, try to seek out breweries, brew pubs, if it was possible to talk to a brewer and get, you know, whatever information I could, you know. “What kind of grain did you use this? What kind of hops are in this? What is your process for this? And, oh, what size system do you have?” And, you know, it was fun to do. And I was fun to go to cities that had older, richer brewing cultures than San Diego, you know? Back then there was not even probably ten breweries in San Diego at the time. Especially none that we had real easy access to. The easiest one for, for me, ended up being Solana Beach Pizza Port (Pizza Port Solana Beach). Just because I had met people there and met the brewers there. I went there all the time and were buying homebrew supplies from down the street. So, as it grew, you know, I finished school, came back home. I worked summers at the YMCA in Encinitas running their summer camp programs. Youth summer camp programs. So, I was heavily involved in that. But I always really liked--still liked beer. Still went to festivals and— Downie: What was your degree in? J Bagby: It was communications, social science degree. You know, honestly, I just wanted to get done in the school. It is not really my thing. Downie: But you completed it, so “Yay” for you. J Bagby: Yeah, yeah, I can say I have a degree. Whoop. (Dande Bagby laughs) So yeah, came back home, worked that job or some aspect of it for a summer. And then I was hoping to stay on. I’d had several--I've worked there since I was fifteen (years old). So, I had years of experience, knew the program, knew everything and anything about it. So, it was hoping, well, maybe this will be a full-time job, because the program had grown and grown and grown in the time that I've worked there. But they didn't have a position. Good old nonprofits. So, I started just looking for a job. I was living in Cardiff with some friends and I needed money. I needed something to do. So, through the YMCA, I had a commercial driver's license to drive kids around, drive big old buses. So, I looked into driving jobs because they paid pretty well. And I could probably get one quick. Downie: Yeah. J Bagby: You know, the degree did nothing for me, so. (laughs) Dande Bagby: Well, it sounds like you didn’t really want it, too. J Bagby: Well, I mean, it's not like you go, like, what industry are you going to be like? “Yeah. I have a communications degree from UC Santa Barbara,” like there, so? How's that going to help us do blah-blah-blah. There was no technology jobs. There was no social media jobs. There was no— Downie: Exactly. J Bagby: (speaking at the same time) I was, I kept going into radio or like news or— Downie: (speaking at the same time) But it would have taken time to get employed, and you were saying you needed work now. J Bagby: Exactly. Downie: Which is certainly understandable. J Bagby: Exactly. D Bagby: So, think about that before we get the degree. (laughs) Just kidding. (laughs) J Bagby: So let's pay attention and talk about themselves once it’s their turn. (all laugh) D Bagby: Just saying! J Bagby: So anyway, let's see, let's see, oh, came across the job, driving job for Stone Brewing Company. And I remembered that I had been in Solana Beach the very first night they'd ever poured a beer and I'd met Greg (Koch) and Steve (Wagner) and tasted the beer. And I was like, “Oh, this would be great.” You know, I remember them, it's cool to see that they, you know, are still going and are making beer and need a driver. So, I just interviewed with Greg and told him my whole story. And he was like, “Well, obviously you're super overqualified. (Downie laughs) So, you know, you have the job.” And it was fun. It was interesting to see some side of the bar and restaurant and beer industry that I'd never seen before. Learning some of the weird rules that are still in laws that are still in effect today and delivered beer. Drove beer truck for three months. And Steve and I were at a festival. I would always hang back after I was done and talk with the brewers and see what they were making and see what was coming on and things like that. And Steve was like, “Well, we need another body in the brewery. We need somebody else.” And I was like, “Yeah, sure. I'd love to.” I was like, “Who do I give these truckies to?” (Downie and D Bagby laugh) So I actually found the guy that took my position as a driver. And he's still my Stone rep(resentative) today. Downie: Oh my gosh. J Bagby: Yeah. I still work for Stone in different capacity now, obviously. But yeah, he was a bartender at one of our accounts, he was actually at Pizza Port and he's like, “Oh, how's it going over there?” And “What's it like?” and I'm like, “Well, if you're interested, you could come check this out.” He was a bartender, so he could still bartend and do that. And so, yeah, he came over and I taught him the routes and boom, he was the driver and I moved into the brewery. So, I learned there, primarily from Lee Chase and Steve Wagner. Their methods to brewing, I'll say, which I still today, I think if you ask about mentors on here, definitely those two guys are some of the first. And they gave me a lot of introductions into people like Skip Virgilio, Yusef Cherney, Jack White, Chris White, Gina and Vince Marsaglia, where I spent hours in their restaurant. Several other people that are still working in beer today, and still active. And, you know, we all kind of, you know, kind of go, “Yep, you were there,” you know, when you have these people that have been open for five minutes. (Downie laughs) Not to say it's bad, but you know, it's nice to have that kind of a bond and that kind of a connection to people that remember when there wasn’t all the things that there are today. Downie: When it was a struggle. J Bagby: (speaking at the same time) Yeah, big time. Downie: (speaking at the same time) I mean, not that it isn’t a struggle now to run a business and to start having all that, just to be in the first, the forefront of things. J Bagby: Oh yeah, there used to-- Downie: There is still some special barriers. J Bagby: When I was living in Cardiff, in driving for Stone and then actually working in the brewery for Stone, we would go to events like every weekend. Every Friday and Saturday night, you know? Because the sales reps are like, “Hey, can you guys come down and help promote?” Or, you know, whenever we went to somewhere and be like, “Hey, do you have Stone beer on tap?” And they'd be like, “What the hell is Stone?” (Downie and D Bagby laugh) You know, and now you can't find somebody that doesn't know what that is. Downie: Right. J Bagby: And back then, it was totally different because people weren't paying attention. People didn't care. There was five tap handles and all five of them are taken up by mass-produced beer, you know? The Heinekens, Amstel Light, Guinness, New Castle, Bud, Bud Light, Coors Light, Miller Light, not Corona, it wasn't going on tap back then but it was in the bottle under the bar. So, it was tough. It was tough for them to gain ground and getting space. And because they came out with a Pale Ale, they were in an immediate competition with Sierra Nevada Pale Ale, which had already, you know, been around for ten years at the time. So, you had that battle. You have this well, “What's, what's different from you? These guys have been doing it for a long time. They make this Hoppy Pale Ale. We've had it on tap. What's the difference?” So yeah, a lot of early struggles, a lot of, you know, almost telling--I like to say this, like Stone told people what to drink. When they came out with a beer like Arrogant Bastard and they came out with a beer like Stone IPA, and it came out with Smoked Porter that came out with these beers that no one was used to drinking and they were like, “No, you're going to like this, because this is what we have to offer. And people would taste it. And I think combined shock, new flavors, new tastes, things they'd never had before, they really grabbed onto it. And they were like, “No, this is, this is cool. I really like this.” Not necessarily knowing why or knowing what about the beer that they were actually tasting. Just that it was exciting and it was new. So, I learned to brew on that, (laughs) professional thirty barrel, professional brewhouse pretty quickly. Helped create the first Stone Barley Wine, Old Guardian. Lee and Steve and I each did five-gallon test batches. And then we, we tasted them all and created a recipe. So, that was fun. And few anniversary beers, you know, when they were taking Stone IPA and Double Stone IPA and Triple Stone IPA for the anniversary beers. Those beers just blew people's minds back then because no beer had had that kind of aroma and power on the hop side, you know? And they're not unlike a lot of West Coast IPAs that are still made today. So that was exciting. The Y(MCA) came calling somewhere in that first year, year and a half that I was in the brewhouse. I got hired at Stone in September of (19)97. And I worked there through sometime in (19)99. Okay. I'm trying to remember exactly when, but I did go back to the Y full-time because they actually have a full-time job for me and they needed the help. So, over the summers I would work a hundred-plus hours a week because I’d work a full-time job at Stone Brewing. And then I would go back over to the Y and help them with everything that they needed for the next day or for the next week of things I hired and trained. Yeah, it was crazy. Monitored staff, bus drivers, all these things while I was still working at Stone. Left Stone to do the Y thing after one of the summers, because I was like, oh, it's too much. And they were going to give me a little bit more money at Y. So, I went and did that and then got stomped on over there. Got passed over. And I was like, “You know what? I'm done with this. I've given my life to you guys and saved you guys several summers and I'm over it.” So, went back to beer, got hired at White Labs (Brewing Co.) in San Diego. I had known--by this time I had known tons of people in the industry. I had done festivals for Stone. I had worked for them in all sorts of different capacities and also knew the Pizza Port people really well. Downie: So what year--when did you get hired on White Labs? J Bagby: That was probably (19)99? Downie: Okay. J Bagby: (19)99, 2000? I can’t—I’m not positive on that. But somewhere in there. Because I definitely left--I left both the Y I think the--right before the 2000 summer started because they had made some really bad decisions and it bothered me. (Downie laughs) So, let's see. I worked at White Labs for-- Downie: As a brewer? J Bagby: No, as a sales kind of yeast consultant. Answer questions for people, take orders, you know. Downie: Was this at their--where they are now? Candida Street or--? J Bagby: No, this was the location before that. (Silverton Avenue, San Diego location.) Downie: Okay. J Bagby: A little--it's kind of an interesting place like offices on front, warehouse in the back, but much, much smaller than where they are now. Downie: Yeah. J Bagby: But it was cool. It was definitely educational. It was neat to get to know Chris and Lisa (White) better as well as one of their other then-partners, Chris Mueller. I had already known all of them and met all of them so, it was kind of nice to get a job and work with them. And it was okay. It just wasn’t--it wasn’t exciting for me. And I wanted to get back into the brewhouse and I wanted to get back working with actual beer. So, kept in touch with Pizza Port and the people there, the whole time. I got hired at Solana Beach as an assistant brewer. And so, I was an assistant brewer there and bartender there-- Downie: And who was head brewer at the time? J Bagby: Tomme (Arthur), at the time. But we had become friends, gosh, right after he got hired there because I knew the brewer before him. And then they're like, “Oh, that's the new brewer.” So, I just like introduced myself and said, “Hey, I really like these beers here and blah-blah-blah” So we just got to chatting and hanging out and doing all sorts of different things. And you know, even when I was working for Stone, we connected just because it's, you know, another brewery in town. (laughs) And back then— Downie: Well, it shows the value of networking— J Bagby: Yeah. Downie: And knowing people, it makes a big difference. J Bagby: There's also a way to learn back then, you know? Steve and Lee were great and taught me a lot, but also learned a lot from Tomme. And I also learned a lot from a ton of other breweries that I met back in the late nineties and early two thousands. All across the state and even into Arizona. The guys at Four Peaks (Brewery Co.), still good friends of mine, even though they sold their company for who knows how much, they won’t tell anybody. (Downie and D Bagby laugh) Places like Marin Brewing (Company), Anderson Valley (Brewing Company), Russian River (Brewing) now, when he was still in Temecula back then. Downie: He was Blind Pig (Brewing) back then. J Bagby: Yeah, I had met him (Vinnie) and Natalie (Cilurzo) back then. Untold numbers of, you know, going to the Great American Beer Festival (GABF) for the first time was probably my biggest eye-opener to all of that and meeting more and more people because now there was the whole U.S. and all the brewers in the U.S. in one room and back then it was easy. You could go and talk to people. I was working for a brewery at the time and that was 1997. It was my first GABF. And I'll never forget going up to people and trying beers and went, “Oh my gosh, that's awesome,” you know? And just making that acquaintance. And I know a lot of those people still today that I met that year at that GABF. So really cool stuff. And that just kept building, you know? Every time I could go to a conference, every time I could go to another out-of-town festival. Meet more people. (laughs) So, you know, at Solana, I was there for probably two or three years doing assistant brewing and bartending. And then a position opened up. I had met Tom Nickel through all of this too. Because he was good friends with Tomme. He was a part of the early Ballast Point (Brewing Company) and Home Brew Mart. Tom and I are still very good friends today and Tomme. And so, he said, “Hey.” He was working for Stuft (Pizza and Brewing) at the time before it was Oggi’s. And then when it became Oggi’s, they had one in Vista that opened, their brewer was leaving. And so he's like, “Hey, if you want a head brewing job,” I was like, “Hell yeah.” (Downie and D Bagby laugh) So, took it. I had interviewed with a couple others. It was just, well I interviewed at Kona and just decided I didn't want to go and live on an island. (laughs) So, and there was an opportunity in my backyard, so, why not take that? So, did that for a while. That was fun. That was really the first time I got to see my influence on brewing, make a difference for somebody's beers or somebody's restaurant or somebody's beer culture, you know? It was the first time I'd won medals on my own with my own beers. You know, we'd done very well on Solana Beach. But this was cool because it was like my stuff. And worked with Tom (Arthur). He became their corporate brewer for a short time up in San Clemente. And I worked at that location for a while until Pizza Port Carlsbad had an opening for a head brewing position and that was a bigger brewhouse. That was more beer and it was more money and it was Pizza Port was kind of my first forte. So, I went back to that and ran, within a year, was running all the brewing operations on all of their pubs. Helped them open Ocean Beach. Hired, trained, promoted a ton of different brewers who are still in the brewing industry today. Yeah, you’ve got Yiga Miyashiro, the head brewer at Saint Archer (Brewing). Greg Peters, who's the head of Barrel Program there. Ignacio Cervantes, who was the head brewer of Carlsbad after I left and then took over (Pizza Port) Bressi Ranch and is now working for a new company in San Diego (Chula Vista Brewing). Noah Regnery, who also part of that company and Brandon Edwards is also a part of that company. All guys that were head brewers at Pizza Port went on to several different breweries and have all kind of come back together in one way. I'm sure there's other people. (laughs) Downie: Yeah. J Bagby: But it was a good experience and, you know, going all the way back to my Stone days, you know, Lee and I worked in this warehouse by ourselves, you know? Day in, day out. So, you get in these conversations, you're running, you know, a four head making bottling machine for eight hours while you're filtering a beer, you know? Like, you know? You are brewing, you get into conversations and you know, both of us were like, “Yeah, I really would like to own my own place at some point,” you know? And my thoughts at that time were, I'd really like to just have a beer bar or have a place because I've enjoyed that aspect of it. I enjoyed teaching people about beer, telling people about new styles and new things that were coming out or that the Pizza Port had just come out with. So, I said, “I don't know what, I just really want to my own place. And Lee was like, “Yeah, me too, me too.” So, it's funny that both of us have had that come true- Downie: Yeah. J Bagby: Over time. But in the Pizza Port years, having, you know, kind of pulled from my YMCA experiences with hiring and training people and building sort of a management approach to running the bars at the Pizza Port, they were, for lack of a better term, they were pretty chaotic and not very well managed. And the companies were, even though they were making money, hand over fist, they weren't making as much as they could because they were losing money, hand over fist because of their bar staff. So, I tightened up that. I taught their bar staff and what, you know, beer education programs, you know, you had to spend a day in the brewery with me, all of these things. And that carried on to all of the locations. And in doing that and forging that, that's when, you know, I started having conversations with Dande. We had met and I showed her--actually I was still working at Oggi’s when we met. And, you know, started talking about, well, “What do we want, what do you want to do with this? What would you do with this?” And I was like, “Oh, I want to open my own place.” And it was funny because people would come in while I was brewing in Carlsbad, say, “Oh, we're going to open a brewery.” And I was like, “Oh, cool.” Well, this is, you know, “I've been doing this for a really long time and I'm not ready yet, but you know, good on you.” Or somebody would come in who had just opened a brewery and I'd want to help support them. So, we had guest beers at Pizza Port, we would put their beer on tap and, you know? I would talk it up and everything. And then it was funny because by the time I left Carlsbad, I didn't have that approach. I was like, “Okay, bring your beers in and then I'll taste them and we'll see what we can do.” Yeah, “We'll give you some feedback or we'll see if we can get you into rotation or not,” you know? We have a big board, there's a ton of trends, and there's a ton of spots. They're almost always taken whatever the case was, but I wasn't as eager to just blindly accept the keg as I had been in the past, when there was, you know, “Let's promote local beer and let's get this scene going.” And it transferred all the way into here because now there's even more breweries. But now that I'm one of those people that's trying to sell beer to people. (laughs) D Bagby: Yeah. J Bagby: It's always so-- I get it. And, you know, hopefully, you know, the things that we had talked about before we opened and the things that we wanted to do is largely what you see today. When you come here and it's not just a beer aspect, it's a food aspect, it's a space and feel. It's also our cocktail and spirits program, wine program. All the things that we do here are things that we talked about ten years ago. Of course, it took us a very long time to get to that point. And I think we've surpassed many mountains in that process of getting to where we are, which is something that feels really good. But it's also a constant struggle when there's, you know, things that we deal with every day. And somebody asked me the other day, “Oh, would you go back and do it again?” Yeah, I would. Hopefully I know a little bit more. (all laugh) As Dande was talking about earlier with managing the construction, but it's been a crazy, crazy road. It's been fun to have been a part of San Diego beer, to have kind of put my efforts into not only just promoting the people that I worked for, but training other people into that and, you know, really teaching and promoting what good beer is and making sure that I did everything I could to make sure that San Diego was seen that way and perceived that way across the country and across the world. And I believe that I still do that today, even though there's one hundred and fifty or what odd breweries in town. I still make my efforts to make sure that that happens if that makes sense. Downie: Yeah, it does. J Bagby: Cool. Downie: So, what made you decide to basically take down Continental Motors? (J and D Bagby laugh) What made you decide on taking this piece of property and rather than taking over-- J Bagby: Good question. Downie--a building that you could just kind of refurbish? J Bagby: Yeah. Well, I kind of still ask myself that question a lot. (D Bagby laughs) D Bagby: Depends on how good the day is going. J Bagby: That 3,000 square foot warehouse looks pretty cool somedays. (laughs) No, we had a location in Encinitas that we were pretty fond of. I wanted to be the first person to make beer and Encinitas since there was one little tiny spot that was open for like nine months in downtown Encinitas called the Red Kettle. D Bagby: The (19)80s? J Bagby: And it was like (19)89 to (19)90, something like that, I think it was open. And sounded like the guy didn't know a whole lot about what he's doing. And it would be interesting to see if you find any more information on that. Downie: There’s very little on the Red Kettle. I’ve been looking. J Bagby: There's like one article you can still pull up online. Vince Marsaglia, I remember he'll tell me stories. He's told me stories about going in there and talking to the guy about brewing. But anyway, I wanted to be like, “No, I want to open up a brewery and want to, you know, it's not going to be a restaurant with the little kid in the back.” Like, yeah, I want to do that in Encinitas ‘cause Encinitas neighborhood made it look cool there. But building situation fell through. We had spent some time, even some money getting people together. We had met with everyone at the city of Encinitas. So, we knew it was going to be a bit of an uphill battle with what's going down there on the Coast. It was on Coast Highway in Encinitas, big, beautiful, gorgeous eighty-three hundred square foot building with a wooden barrel ceiling and twelve-foot brick walls. Gorgeous place. And the landlord--we had never actually spoke with the landlord. We had only spoke with his representative and he had edged us along the way. “Yeah, that's good. It's good. Yeah. That's no, he's, he wants to do this.” And we put in our LOI (Letter of Intent), you know, spent, like I said, I spent time with the city. This is what we're thinking about doing. Architects, all sorts of things. Structural engineering, because the building's old. It was an old Safeway or something, I think. D Bagby: It was a grocery store. J Bagby: Yeah, it was a grocery store at one time. That's why. And all of a sudden we just weren't hearing anything back from the rep. So, I just called them up and, “Dude, what's going on?” Like we were going forward, we think this is happening. We've heard nothing. And he just basically said, “No,” without, you know, I tried to reach out to the landlord. The owner said, “Hey, just meet me. Just--let's have a conversation.” Could never get there. And from what I hear, that guy's kind of a maniac, so I'm kind of glad we didn't get in that situation. (D Bagby laughs) But I do miss the idea of being there in that building and being in Encinitas. I think that would have been really, really cool. But-- Downie: As a hometown boy. J Bagby: (laughs) But, we took that setback. Or, yeah, it was a setback, because we were, you know, not that we'd put all our eggs in that basket, but we definitely— D Bagby: Several months. J Bagby: But, yeah, we spent several months of time on it. D Bagby: We kind of mentally moved into it too. You start to really put yourself there and how to Jeff, as you mentioned earlier, like, we had been talking about these ideas that you now see here for a long time. And so, you start to sort of layer those ideas over the space and figure out how things might go. And, it was really--it was a huge disappointment. J Bagby: Yeah. D Bagby: But we got over it pretty quickly and moved on and... J Bagby: Yeah. So, we decided to, not to stop, but to kind of regroup. We got married and after we got married, we decided to enlist the help of a commercial real estate. So, we, through some friends we found a really good broker. And he gave--started just giving me--I met with him--he gave me no less than I think a hundred properties throughout the county to look at. And we had already found out a little bit on our own through some other connections, you know. Basically, no one's going to give you any cash. If you're in a strip mall, you're going to be paying even though, your rent might be lower, you're going to be paying other fees that make that rent go back up. And they basically only take national conglomerate stores that have very, very deep pockets these days. Not too many private strip malls out there taking breweries and first-time owners and let alone, “Oh, you want to open a restaurant and a brewery? Okay, yeah. High risk, high risk. No, don't do it, all those things.” So, we sought out to find private owners and properties that started to fit what we what we had or what we wanted on there, which was coastal North County, enough space for a restaurant, enough space to have a decent sized brewery, and a space that will allow for indoor-outdoor dining. We love the aspect of letting people or giving the people the opportunity to eat outside in this gorgeous weather that we have almost year-round. So, I'd never thought about Oceanside, but I knew that anything in between Del Mar and Carlsbad was going to be extremely expensive and extremely difficult to find. Especially for the uses that we wanted to do. You know, we were trying not to have a conditional use permit. We're trying not to deal with the (California) Coastal Commission. We're trying to get into a spot where we could build or remodel, I should say, for the most part. Downie: Yeah (laughs). J Bagby: But pretty much ended up re-building. If you saw what we did to this place before we rebuilt it— Downie: Yeah. J Bagby: We basically tore it down. Anyway, he gave me a list of seven, eight properties in Oceanside here. So, I just grabbed my camera, my notebook, and my bike and rode them all. And I came across this one and it was--you could go all the way around it, but you couldn't see much. Where the brewery is now, were solid roll-down doors. It was their maintenance garage. Up front was a showroom, so, I could look in the windows there. That building to the south, you can kind of look in there too, but you couldn't tell what was exactly going on over here. You can see a little bit, all closed, looked like it had been, somebody had moved out. And so, in my head it just started clicking and I'm like, “Oh, what if that was there? And what if we put, you know, the brewery in here? What if we did this here?” I took, I don't know, fifty pictures of the place looked at the other properties and went home and told her. I'm like, “I found it.” And she's like, “What are you talking about?” D Bagby: You actually called me from the space. (J Bagby laughs) J Bagby: I’m like, “It's an old car dealership.” She’s like, “You're fucking insane.” I’m like, “Get in a car, come down here.” (all laugh) D Bagby: It’s basically what happened. J Bagby: (laughs) So, yeah, we just kind of went from there. We told our broker, “Hey, can you, you know—" super sensitive about contacting the realtor—realtor rep, landlord, anything like that. D Bagby: Because of our experience in the industry. J Bagby: Yeah. D Bagby: We wanted to make--just kind of proceed cautiously. And we did not have our hopes up. We had no idea what they would--what their response would be to any kind of inquiry. J Bagby: We obviously originally thought that they wanted car dealerships to take it over again. Just because they were set up that way. They have the lifts, they had the excess parking. They had, you know, frontage on South Coast Highway. There's seven other places, you know? So, we thought that's what they were going for. And they originally, they kind of said, “Yeah,” because use is that, it'd be easy for their somebody to just take it over. Downie: Right. J Bagby: And a couple of inquiries they had because the space was so big and nobody wanted it all. They would want just that building or just the parking lot, or just part of this main building, main parcel. So, I said, “Well, we're kind of interested in all of that.” (laughs) And so anyway, the original conversation with rep-between-rep, the idea of a brewery got brought up by the rep from here and unsolicited-- D Bagby: By their broker, yeah. J Bagby: Unsolicited from our broker at all. And I was like, “Yes. Okay, cool.” And so, I'm like, “Hey, can we get in it? Can we look around and see what's going on?” So, the very first day we came to look at it and the landlords was here, the owners were here. And they wanted to meet us and they wanted to hear about what we wanted to do. And if we thought the space would work. And they're still friends of ours today. They still come in here and eat. His father was from Bamberg, Germany, which is a huge brewing scene in Germany and malts. There's two big malt companies in Bamberg. Then I said, “Well, I buy malt from Bamberg.” (Downie and D Bagby laugh) So, we had this, you know, this back and forth. Their son is into beer. And he really liked the idea of the legacy of the property that his father had started going into another family business of some kind. I think that probably in the end was what attracted them the most to us. But we poured our hearts out like, “Hey, this is what we want to do. And we totally get it. Like, you know, we've never opened a business. This is a huge spot. We have to raise a ton of money.” All these things, but we really want to do it.” And they went for it. D Bagby: Much to their credit, honestly. J Bagby: Yeah. D Bagby: They took a big risk on us. And, it's a big point of pride for Jeff and I-- J Bagby: Definitely. D Bagby: -- to count them among legitimately among friends. And, we're just, we're so grateful to them for just being open-minded. It was their family's business that was here and then that they had to close and they still own the property. And they, you know, we have a long long-term lease and several options. So, we don't own the space. I'm sure the property will stay in their family forever, which I think is fine. It's perfect. But they just really--they were very interested in us as people and-- J Bagby: Yeah. D Bagby: --what our vision was and what we wanted to do and how we wanted to do it. And I think that aligned, even though they're totally different industries, it really aligned with their values. And, yeah, much to— Downie: Their European background. D Bagby: Yeah, definitely that that's probably part of it. (laughs) But I remember when they finally agreed, it was sort of like, obviously it's exciting, but it's also instantly terrifying. Downie: Yeah. D Bagby: You don't--And we didn't even realize at the time what we had just done, I don't think. (Downie D Bagby laugh) J Bagby: It took me six weeks to get the lease exactly where we wanted it. D Bagby: At least. J Bagby: And it's like, I think it's sixty pages of like, eight, nine-point font. It's like line-by-line and you just, you have to know, “Okay, what does this lawyerese mean?” And then go and read through and go, “Okay, no, that's what we don't agree with. Here's the change we need,” you know? And so, we just--the back and forth, back and forth, back and forth. And then we start with contractors interviewing contractors, and that is a whole fiasco in and of itself because they're intense. And they realized that in the end, throughout this thing, I think they realized that their relationship is never going to be a great one, just because of the nature of the industry. D Bagby: It can’t. J Bagby: It just can't. There's too many variables and there's too much money and there's too much time involved for--I've never met anybody who was like, “Yeah, I loved my GC. My project went amazing.” They're full of shit. D Bagby: It’s like a disposable relationship in a weird way. J Bagby: Yeah, you just-- D Bagby: You need them, they you need but then it's over and we're done. We don't want to see you again kind of thing. It's terrible, but that's just kind of the nature of it. Downie: Now did your general have any background in building a brewery? J Bagby: (speaking at the same time) No, in restaurants. D Bagby: (speaking at the same time) In restaurants. J Bagby: Yeah, restaurants, and commercial or retail. But mostly restaurants and bars is what we were attracted to him for. D Bagby: Small company also--J Bagby: Smaller company. Had the reputation of being able to do something like thisD Bagby: Had worked with the architect— J Bagby: Yeah, he had worked with our architect on a project before and yeah, I mean the architect firm went down in flames pretty quick. (D Bagby laughs) I realized, oddly enough, we got an apology email from him last week, which was--D Bagby: A little late. J Bagby: Frustrating two years later. But, yeah, they just weren't equipped and we didn't know that they weren't equipped. D Bagby: We didn't know enough to know that. J Bagby: Yeah. And then, you know, I spent countless hours going to the counters at the city to talk to the engineers, to talk to the-- D Bagby: The building inspectors. J Bagby: The building inspectors and just going back and forth. “No, we need this. Okay.” So, because I'm trying to facilitate--we're trying to facilitate this project and keep it moving. And there's obviously no one in the world has any incentive, but, or the most incentive than us to get it done. And so, we're just, like she said, we just took it on. We project managed, we--every day, we'd come here and walk through and see what was done wrong or what hadn't been done or why isn't, so-and-so working today, you know? And part of that was on the GC, part of that was on their architect, and they both fell down. The architect first and then the GC. We went through five superintendents here on our project to the general contractor. Downie: Oh dear. J Bagby: And by the end I was like, “Him or no one else.” And so, we got this last guy just to get through and get our building final then and everything. But you name a discipline, you name a part or a section or a wall. I spent time on it. She spent time on it. It's--so now, you know, we're like, we're telling them, we're like, “You guys get to go, you guys get to pack up your shit and leave.” And we get to turn around and actually do what we wanted to do six months ago, or, you know, a year ago. D Bagby: When we started construction, yeah. J Bagby: Yeah. D Bagby: When we thought we’d be done, especially. J Bagby: We, you know, we need to spend time on--I mean, we're still taking on investors, but we have to start the project. We're still searching out for investors. We're still trying to find our key executive management team and how the hell we're going to run this place. I'm still trying to figure out how to get the rest of the brewery finished off and actually making beer because we didn't want to open without our own beer. And it was just, you know, just kept on, I didn't, I think I lost forty pounds and that last like six months of the other projects before we opened, just because I could never eat, I could never sleep. And I was constantly doing something on a project that sent my stress levels through the roof. So, it was very-- D Bagby: And then you get to operate your business. J Bagby: Yeah, and then you open and you know, there's five hundred people here on a Saturday and they all want food and beer. Downie: Excellent. D Bagby: Which is great, yeah. I mean, there is that question. I mean, you just, you don't know until it happens when you open the door for the first time. Is anybody going to be here? And I know that sounds ridiculous when you think of the size of this and even just people curious. Obviously, there will be people that are curious that are cruising by, but you really don't know. I mean, it is, you don't--you don't really let yourself think that because you can't. You just have to continue to stay true to your goal and your vision. And once you start, you can't stop. I mean, it's go time. And so, when you do finally open the doors, it's amazing. It is. It's kind of amazing that people are here. And I remember the first, like week we were open, it felt really strange that there were people here I didn’t know. I was like, “Who are these people? Oh, shoot. They're supposed to be here. That's right.” (Downie laughs) It was just very weird. And we had spent so much time here over the, you know, proceeding two years that it was--it was home. We were here three hours to one, the number of hours, or four hours to one, the number of hours we would spend at home for sure. And so, this was home. And so, we knew every contract, we knew every subcontractor. We knew everybody. And they knew us. And so, when it was time to let strangers in, (laughs) it was weird. But, you know, you get over that pretty quickly. J Bagby: Yeah. D Bagby: Because they are spending money. Downie: Of course, talking about the ‘curious’ issue, are you going to come back? D Bagby: Yeah, of course. Downie: Because just a one-time visit isn't going to keep you going. D Bagby: That’s right. Yeah, that's right. And that's still something that's, you know, on the operational side that we are always striving for. We want to be that place that people are like, “I can't wait to go back there.” We're still young though. And I that's the counterpoint to that is first of all, never stop trying. I mean, there's always something we can do better, always something we can refine. Always a better way or a more efficient way or a way that's going to make our guests happier. So, we are always pushing. We never, ever stopped. And I don't think we ever will. That's just our personalities. And luckily, it's the same--those personality traits are reflected our management team. So, they all feel the same way too. There's absolutely nobody on that team that is not completely there with us. Ready to just keep pushing and pushing and pushing. And our staff, it goes all the way to them. The people that are attracted to a place like this to work here. They, you know, they like that it's family. They liked that it's unique and different. They like that we're always pushing the envelope, trying to come up with cool new things or new ways or whatever the case. And so, it starts to draw in people who are naturally attracted to that. And so, they have a really kind of an inherent flexibility that is critical, but we couldn't have scripted that. I didn't really realize that, but it is true. We are--we ask a lot of them. We ask them to be very nimble and to do something very different one day than they did the day before, because we're trying to— J Bagby: Sorry, I’ve got to go downstairs and talk to them for a minute. D Bagby: Okay. Downie: Okay. J Bagby: Okay, I'll be right back. I got to set up a potential account with some tasting. D Bagby: Doing some tasting. Do you want to bring them upstairs for a taste? J Bagby: You did ask a question and that was what attracted us to this? Just going to finalize that and say the space. (Downie and D Bagby laugh) D Bagby: Yeah, the space for sure was the deciding factor. But when he called me from here and I've told this story before, and he said--I asked, you know, the data, like, how big is it? What's going on? And when he started to rattle off the statistics, I'm like, in my mind, “There's no way this is going to happen. (Downie laughs) There's no way.” And then every little hurdle you cross over, you knock that domino down and then pretty soon you're signing your lease. And it still doesn't really feel real until then. And then even then it doesn't feel real until— Downie: But you've been disappointed once already so-- D Bagby: Yeah. Downie: So it was kind of like you don't exactly want to get too invested— D Bagby: Once you sign the lease though, and you are a personal guarantee on that. It's yours. And so, then it's like, what do you do with that? Because there is a certain amount of money that if you just--even if you decide to never do anything with it, you're paying on your own personal account for that. So, and we knew that it was a big risk of the landlords, the owners. We knew that we wanted to not disappoint them too, as another layer in all of this. But I really didn't believe it was going to happen until it started happening. (laughs) And then the train was going and there was no stopping it, which is good. Downie: Yeah. So, what about your background, Dande? As far, as you know, you said you worked in a Fortune 500 company. Well, what's your path that got you here? And to actually be supportive of something that you could have very easily said, “No, I don't want to do this.” D Bagby: Yeah. I still do say that sometimes. No, I'm just kidding. No, my background is really weird. But somehow it all sort of feeds into to all the things that we do here. So, I worked in restaurants in high school and a little bit in college. I ended up working for a very small sort of family-run or just a couple of friends started the small kind of Mexican food chain. It was a kind of a spinoff from the Rubio’s chain. So, they had helped Ralph Rubio start Rubio's and they started their own thing. And so, I, you know, started working there my first restaurant job and worked my way up into management. And I'm still friends with the owners of that. They've since sold it all off, but it was really exciting to be a part of a small, very small and growing company. When I first was hired by them, they had one location. And then ultimately, I think they had seven or eight. Not when I worked there, but at the end of the sort of end of the line for them. And what happened though, was that they set the bar really high. I mean, they treated this little single location, you know, eight hundred square foot taco shop. They treated it as though it was a corporate--very, very organized, very dialed in, very high-quality, high standards when it came to customer service and food service and all of that. Even though it was a walk-up counter. So that was my only exposure to restaurants was that. And so, it really, it changed how I saw things, whether it was from a business perspective or from a restaurant perspective. And that was sort of, that became my benchmark, for how to be. How to be a manager, how to be managed, how to treat employees, all of that stuff began then. And it was my first real job was there. And I worked there for many years while I was--and then I went to school--my degree is in biology from Cal State San Marcos (California State University San Marcos). Downie: My goodness. (laughs) D Bagby: Yeah. So, I was a molecular cell biology major. But, before that, I wanted to be a zoologist. So, I started at Palomar and my very first class, my very first semester of college at Palomar, was as zoology class. And it was just life science, check the box, get that out of the way. And I fell in love with it and it was everything. I loved it. It was--my instructor was amazing. I don't think she's alive anymore. Dr. Jessup was her name. And she was a genius and I just wanted to absorb a hundred percent of everything she could teach me, I wanted to learn it. And so that kind of led me-- I worked for the Zoological Society of San Diego for about seven years. So, I left restaurants and did that and finished my degree at Cal State and left. And I taught biology and environmental science at the high school level. I taught labs--biology labs--at the junior college level for a few years. And then ultimately worked for SDG&amp ; E (San Diego Gas &amp ; Electric Company) in their Environmental Science Department. And, that's about when I met Jeff. So, I had done all of this sort of teaching and I hadn't worked in a restaurant in a long time. And when he and I first met, he had, like he said, he had beer on tap, both at Oggi’s in Vista where he had been the head brewer and at Pizza Port Carlsbad. And I had always liked beer, but I knew absolutely nothing about it. It was completely foreign to me. I didn't even--it didn't really occur to me that it was something that you could learn about. It just sort of was a thing that existed. And of course that's--couldn't be more wrong (Downie laughs) even then in 2005, even then. And so he's like, “Well come and let's taste some beer at in Vista.” So, we went out there and he just did the tasting, not a flight. I mean he pulled--we had tasters of every beer that was on tap. There must've been a dozen beers or more. And he kind of just lined them up how you would want somebody to kind of learn about beer. And he just was like, “Okay, what does it look like? What does it smell like? What does it taste like? Where do you think that's coming from? What is that? Did you do--?” you know? I remember specifically the hefeweizen he's like, “Do you think we added anything to make that taste like that?” And I was like, “Well, yeah, you probably added some fruit or you added some spice.” And absolutely not. Just from the yeast, and that tied into my biology background. Downie: Right. D Bagby: And understanding sort of a little bit about, you know, yeast chemistry, yeast metabolism. And then it started to click. I was like, “Okay, this is cool.” And then of course that led into ales and lagers and how they're, you know, metabolized differently. And all of the life cycle and all of that stuff. And so that really kind of itched, or what do you say, like “Scratch that itch” or whatever that science-y stuff. I really, really appreciated on the cellular level, which I had kind of departed from working in environmental science. So, that was a really huge eye-opener and that was kind of it for me. So, we tasted through all the beers and that created this sort of framework for me that I still rely on today. That's just sort of styles and, you know, parts of the world. And, you know, this is like this. And that's like, you know, whether it's hops in English IPA versus an American IPA and why and how, and, even just the physical I'm like, “I don't know what hop is. I have no idea.” So, he went and he grabbed a handful of hops and was like, “This is what they are. This is what they smell like. This is what they look like. This is where they're grown.” Of course, that led into hop harvest. And that led into fresh hop beer. And I remember specifically that season going down to-- because he still was bartending. So, he had, he left Pizza Port or--excuse me, he left Oggi’s and Vista and he was head brewing in Carlsbad and he was still bartending at Solana Beach. And I lived in Cardiff at the time. And so, I would go visit him on his bartend. I think he would work Wednesday nights and same thing. He'd be like, “Well, taste this, have a taste of this.” And I specifically remember fresh hop beers that season because it was unlike anything I'd ever had before. They were--it was just amazing to me. It was this bouquet of--it really tasted like drinking flowers. And that was really exciting. So, every new experience was just something to be learned. Unlike Jeff, I loved school, I loved being a student. I loved studying and I still do. I still love to learn. So does he, but even in that, even in an academic setting, I loved at all. And so it created this never-ending quest for information and knowledge and then that tied into experience. And so, when we would travel to whether it was in California or abroad or wherever, it creates this sort of, I don't know, structure, if you will. This kind of map or pathway for learning that, you know, whether it's about people or history or the ingredients and where they came from. And so that became, it became a passion of mine as well. And this was pretty close to right away. So, you know, within the first year or so of us dating, you know, we were going to events, we were traveling for beer. We were, you know, it just became part of our shared thing. But also, I loved learning from him too. And, yeah, and he's right. We started talking about opening a place, or that he wanted to open a place, pretty quickly. I mean, it was certainly not something that was going to be happening anytime soon, but it was again part of the discussion. And so, when you're traveling somewhere, you're going--his family, his father's side is from Northern Arizona, Prescott. Little town called Prescott. So, you know, we were traveling out there once or twice a year to visit his grandfather and kind of hang out and there's Prescott Brewing Company. So, we'd go there and just kind of talk about whether it was the beers or the styles or the hop choices or whatever to--do you think how’s the service? Is that are--what would we do differently? What about the glassware? Does this seem right? And--or how's the check presented? I mean, everything, it just became part of the fabric of what we talked about. And, yeah, that lasted and it's still true. It's still true today. And we go places and we look at how just the, how the operational side, how people are solving their own problems and you know, are those things we can borrow or are they things that we would never do because they don't fit with who we are. So that's how, that's the weird biology-biologist into brewery owner. Downie: Everybody comes from somewhere. D Bagby: That’s right. Downie: Actually, you know, like you say, the whole hops chemistry. You know, Jackie Trischman in Chemistry at Cal State (University San Marcos) is working with Stone investigating hops chemistry. D Bagby: That’s awesome. Downie: So, you know, Bonnie Bade (Cal State University San Marcos) in Anthropology is medicinal plants, Native American medicinal plants, and looking at how those can be incorporated into beers and things, so… D Bagby: Absolutely. Downie: So, it's--you can pull a whole lot of different disciplines and interests and experiences into-- D Bagby: Absolutely. Downie: The whole world of beer. D Bagby: Absolutely. And that, and the whole historical piece too, is something that both Jeff and I are really passionate about. And that's a big reason why we have such diversity in terms of the beer styles that we brew here. He brews here because of that. They, you know, a Belgian blonde brings us--brings us back to Brussels. It brings us back to visiting with our friend Yvan (De Baets) from (Brasserie) de la Senne, you know? That to us is a big reason why we wanted to do this also is to bring pieces of these experiences that we've had all over the world right here. And if somebody is able, isn't able, or doesn't know they want yet to go to Belgium or they don't know they want to go to Germany or maybe they never will, you know? If we can bring a little piece of that to them, that's whether it's the beer, the glassware, the, you know, a little bit of history lesson through our employees. That's all--that's a big, that's a huge piece of this for us. So having a big staff is a challenge. Per slight understatement. Downie: How many employees do you have? D Bagby: We have about sixty employees now. Yeah. Which is the smallest staff we've ever had. We--when we first opened and you always open with more than you need, but we had over a hundred employees at one point. Downie: Wow. D Bagby: Which is a big, huge thing. Lots of people. J Bagby: Through all of that, through all of the construction, through all of the opening and employees (unintelligible), I like to tell people that absolutely nothing surprises me anymore. D Bagby: No J Bagby: Nothing. D Bagby: No, no. J Bagby: I've heard it all, seen it all at all. Been through it all. Yeah. Downie: And you're still standing. D Bagby: Yeah. We are. Yep. Downie: So, you've already said that you really don't look to expand beyond this site and it seems like it's large and you have plenty of elbow room but— J Bagby: We could even expand onsite because we have a building that we haven't really even touched--(speaking at the same time) D Bagby: (speaking at the same time) Touched. Yeah. Downie: You’re kidding. D Bagby: Yeah. Downie: So you have expansion elbow room. J Bagby: (speaking at the same time) Yes. D Bagby: (speaking at the same time) Yes. Downie: But since you're not canning beers now, what are your plans for the future in, you know, distribution or canning or--? J Bagby: So, we've gone back and forth. What--we looked pretty seriously at purchasing a canning line. Mike Hess (Mike Hess Brewing) was selling theirs. So, I went down and looked at it, kind of ran some numbers and looked at it. But we wouldn't have been a good idea for cashflow for one thing. And the other was, we didn't have that output really. So, we'd have this really-- D Bagby: Beautiful. J Bagby: Nice canning line and it would be lovely to put a ton of beer in cans, but no output for it. Downie: Okay. J Bagby: Which, you know, cart before the horse or not, or whatever, it's sometimes you just have to jump in. And so, we decided not to at that point, but it is something that's on the mind, especially with a lot of our beers that tend to be growing in popularity and that we think would be really good in a package or in the proper package. So, that's still a possibility. But we haven't decided what step we're going to take first in doing that. So, there is a possibly of that in the next year or two, three. Other than that, I really want to continue pushing our draft distribution because it's something that we can do in the framework that we have. We have the beer, we have cooperage, we can get more cooperage very easily. And the capital outlay isn’t as much, and the space requirement is not as much or as intense as packaging. What else, what else? D Bagby: We one hundred percent self-distribute in California. So, we don't have a distributor anywhere. J Bagby: Out of state we have (unintelligible). D Bagby: Out of state, yeah, we (unintelligible). J Bagby: We’re not sending a lot out beer of out of state, yeah. (Aside to D Bagby, Forgot to tell you I talked to Matt Bonney yesterday about Washington.) D Bagby: Oh, okay, cool. J Bagby: So, we'll do some stuff up there, but anyway. (laughs) D Bagby: There you go. Heard it here first before I even heard it. (laughs) No, just kidding. J Bagby: And he called me during the party. D Bagby: Yeah. So self-distribution. We want to do that as long as we can. As a young business, (unintelligible), the margins on draft wholesale beer are already pretty, pretty low. So, you want to try to maximize as much revenue as you can at this stage of a business. There's also a lot of interesting things happening. I try to kind of dial into this a little bit as much as I can. There's a lot going on with this whole notion of hyper-local and, you know, being the kind of brewery that, and there are lots of them, that have these humongous, very ambitious goals to be in every state or to be in twenty states or to be all over the place right now. And I certainly don't disparage that, that's part of their business model and that's what they think is awesome. Go for it. But it's really feeling a lot like people are more, appreciating more and more, what's right near them. And you see certain breweries that are drawing back from that, that broad scale distribution more and more-- J Bagby: Or just staying where they are. D Bagby: Or are just staying where they are, yeah. They say steady is the new growth. So, I think we're just, we're kind of a cautious company. We don't take a lot of big risks. Maybe because we have such a gigantic property here and so much going on that we don't have to. I mean, we don't even have the energy really to make big plans. But, no, we do talk a about what's next and where, where are we going to grow. And I do think even locally--we, you know, Jeff said, when he tries to sell someone beer, we actually haven’t actively sold any beer. Every drop of beer that hasn't been sold over our bar here at the pub has been somebody coming and saying, “Hey, I want to have your beer on at my place.” So, they reach out to us either, you know, usually via email. J Bagby: That’s who I just met downstairs. And he is a friend, but they came to us to taste. More traditional sort of setup like, “Hey, can you send your rep by and bring some of your beers? I'd like to taste them on tap.” D Bagby: Yeah, we do not have a rep. (laughs) J Bagby: I'm the rep. D Bagby: We don’t have one of those. Yeah. (J Bagby laughs) Part of it is too--and so that’s, it’s kind of nice that that’s, because then we know the accounts that have come to us really already get it. They already understand what we do and appreciate that enough to reach out, but we do not, we understand that is not sustainable. And the growth that we really do want to realize on the wholesale side is only achievable with some outreach. And that’s something that is--we know, we both acknowledge that that’s really important. But we also, again talk about kind of risk aversion. We were—it's still too close to us. We don’t want to just hire a sales rep and tell them to go out in the world and sell the beer. It’s really hard to let go of it and to, you know, just be those, just say, “Oh yeah, go for it. Volume volume. Get it.” Because it still really matters to us who’s pouring it. How they’re pouring it. Are they taking care of the kegs? Is the glassware appropriate? Is it clean? Are the lines clean? All we need is somebody to have a beer like this Kölsch that I'm drinking that is so delicate. And such a light beer that, you know, if it’s not cared for it is going to be flawed. And you know, most people don't drink a beer and think that they don’t like and think that it isn’t the brewer (laughs) or the brewery. Most people do not say, “Oh, those lines must be dirty. That's why this does not taste right.” So, it’s just cautious and definitely overly cautious. I’ll say we are very careful. And, you know, that’s, at some point we're going to have to start peeling our fingers off those kegs a little more forcefully and get out there in the world and really see. We hear from time to time that people believe that we just don't have any beer to sell. Because we aren’t actively selling it, which isn’t true. We make a lot of beer and we sell a lot of beer over our own bars, but we definitely have some volume that could go out much more than it is. So, we’re working on it. Got our hands pretty full. (laughs) Downie: Now, this is something, you know, because you are both cautious people, but what if something happened and your landlord decided to sell the property? J Bagby: So, there's provisions in our lease that say that I can’t change our lease. Downie: Okay. Downie: It was very protective. D Bagby: Yeah. J Bagby: It was very protected line by line that thing to make sure things like that like they couldn’t say, “Oh, we are going to sell a parking lot to a developer for apartments.” They can’t do that, you know? So, if they sell it our lease stands. D Bagby: And we can buy it too, we have to be considered. J Bagby: We don’t have first right of refusal. D Bagby: Something else called that. J Bagby: Their landlord or their rep did not want to give that--our landlords have kids. I would not see them giving up this property to somebody unless we just came by and plopped the amount of money on them, which can happen. And, you know, I know that the people that own these shops kind of behind the alley-- D Bagby: West of us. J Bagby: The other side, are trying to develop it and turn it into apartments. J Bagby: I'm like, that is a six-year project. If Coastal Commission-- D Bagby: It’s the Coastal Commission. Downie: Yeah, it’s a coastal commission. Will even allow it. D Bagby: Yeah, if the city-- J Bagby: We are so lucky to avoid those things, you know? We don’t have a conditional use. It was in the beginning we had some neighbors that were complaining. And I think it was just because people were parking on the street. It’s public parking on the street. And they were just getting mad because they used to park in front of their house at a certain time of night. And it wouldn’t be a problem. You know, because we’re—anyway. Somebody came and complained and said, “Oh, well, I'm going to go to the city. And you know, I’ve already started signatures to get your conditional use removed and dah-dah-dah.” And I was like, “Well, that’s cool, but we don’t have a conditional use.” And (the city has nothing to do over what we do here as a business. Because we’re permitted as a right. So, (whispers) sorry about that. (laughs) D Bagby: Yeah, it was, we haven’t really, honestly, for being as close as we are to residential, we have had virtually no issues other than the first probably month we were open where people were kind of caught off guard maybe by the volume. But that’s, I mean, at least as far as I'm aware, we haven’t had any issues. We haven’t had any issues. J Bagby: I had a couple of things. There was that one guy that, you know, I think he just wanted to come in and kind of rant. And I was nice to him. I just let him go. And when I said, you know, “I want to work with you. I want to work with the community, but you got to realize that, you know, the streets are public parking and unless you get that changed, which you're perfectly willing to try to try to do, but I don't believe the city is going to let you just for your spot in front of your house. And you know, I want to help you. We have the required parking that we're supposed to have for the use that we have here per our agreements with the city. And, you know, really sorry if there's any incidents or things that, you know, please feel free to call us.” Like just, you know, kill them with kindness kind of thing. And you know, reminded him that he really could not do anything about it. D Bagby: Yeah, you live on a commercial zone, basically the boundary of a residential and commercial coming together. And that can be a challenge, especially because there wasn't anything here, no operating business for years. And even when the dealership was still going, I mean, they wouldn't--there wasn't so much parking demand. Yeah. That would have ever affected them. So, I get it. I would be upset too, probably, but— Downie: But yeah. And change is always going to have somebody not happy. D Bagby: Absolutely. That's true. Yeah. Sweat: I actually have to go. I'm overseeing an event in Encinitas here in a second, so I have to run. D Bagby: I hope you don’t run into any traffic. Sweat: We’ll see what happens. (laughs) Downie: It should be pretty good by now. Sweat: I'll follow up with you tomorrow just to make sure you have everything you need and just see what any next steps are. But, let me know in the meantime if you need anything. Downie: Thank you, Holly. D Bagby: Thanks Holly. Downie: I wish you a safe and easy drive. Sweat: Thank you, I know. D Bagby: I hope so too. Holly, we'll look at those pictures today, too. I know you guys are asking and we just have had a crazy few days. Sweat: Yeah, we know with your party. D Bagby: Yeah. (laughs) Sweat: It looked like a lot of fun. D Bagby: It was a lot of fun. Sweat: And honestly, if you are only able to decide on like, a few, I could do the ones of Jeff just to get them to see. D Bagby: Yes, I'll do that tonight before I leave. For sure. And how many do we need to give her? Total? Or selection? Sweat: It’s in the email, like, how many you guys agreed to pay for. D Bagby: I can’t remember. Sweat: It might be one or two or Jeff. D Bagby: Okay. Sweat: That we agreed upon. D Bagby: Okay. Sweat: But yeah. D Bagby: Thank you. Sweat: It’s nice to see you both. D Bagby: You too. Drive safe. Downie: So, if you can still give me a little more time. I know I had just an hour, so I don’t (unintelligible)--. J Bagby: Sure. I might check in on that account in a minute, but yeah, if you have some more questions, for sure. Downie: You both sound like you're very, very invested in education, you know, which is a wonderful thing. What would you say, I mean, do you support any charities or causes through the brewery that you feel like you want to talk about? Or, are there plans to expand your reach into, you know, goodwill gestures besides listening to irate neighbors? (all laugh) J Bagby: It's hard, you know? We get approached almost every day about some sort of donation for something. We have an outlet on our website where you can fill out a form and apply. And while we like supporting charities and the community, it's difficult because there are so many of them. And we like to look at the ones that either we've supported either personally in the past, or that we have a connection to through a family member or a very good friend. Where we can say, “Okay, you know, this is important to us because of this.” You know, while we like also doing this, we're also running a business. So, at some point you can't--you have to close the doors a little bit on it and say, “Look, we want to help you out. But you know, you're asking—" we could do it. The easiest thing for us to do is donate beer. But the hardest thing for us to donate is beer because of the licensing required for the nonprofit to actually get it. And they don't understand that. Downie: I’ve run into that. (laughs) J Bagby: And we always have to be the one that's like, well, “We'd love to help you out, but there's this, this, this, and this.” Downie: Yeah, and more education. And what Stone did—because I approached Stone about some beer to maybe put into a scholarship raffle that we do through the Society of California Archivists I belong to. And it was, “Well, what did the ABC (California Department of Alcoholic Beverage Control say?” And then I ran into the ABC and I just went, for the permits we'd have to get, it's just, you know, it would eat up what little money we would make. So, and I understand that completely because (unintelligible). D Bagby: Yeah, we’ve seen it. But, with that said, we are involved. J Bagby: Yeah, I mean, we just had two weeks ago or, not this past week and the weekend before, we had a gigantic breast cancer benefit festival on our parking lot that a lot of our staff members donate their time to. We donate beer to, we donate food to—yeah, we donate space. And basically, we host the charity. And that was something that I started with the woman who founded the festival back at Pizza Port. Downie: Is that Brewbies? J Bagby: Yeah. Downie: Yeah. J Bagby: So that's the biggest one that we have. And then this one that we just had almost raised almost fifty thousand dollars for charity. Downie: Wow. Wonderful. J Bagby: And so, you know, knowing that and having been involved with this one for nine of them now, and being in the beer industry in general, I'm always getting asked, I'm very diligent about when we get a request for a festival because sometimes, first and foremost, sometimes the festival isn't necessarily great for the charity. There'll be a promotional company--excuse me, that we'll get out there, go up to a charity and say, “Hey, we can make you five thousand dollars if you pull the license for this,” you know? But they don't realize the potential risks involved or the insurance liability that they have to take on, different things like that. And the production company ends up taking the majority of the money because the proceeds. Now it's illegal because one hundred percent of it with that one day ABC license is supposed to go to the charity. Downie: Right. J Bagby: So, if someone squats, the ABC can say, “Hey, we need to see your books.” And then not only does the charity get in trouble, which they may not even be aware of. Downie: Right. J Bagby: But that promotional company, and even the breweries could get in trouble because they donated to it. Another thing is on our side, not only are we just donating beer but probably donating two people's full day’s worth of time to get the beer ready to go to the event, to get all the equipment together, to drive to wherever it might be to set up, to pour, take it all down and bring it all back home, clean it all. And so, people don't realize what really goes into it on our side when we're donating. We're not just donating a beer, we’re donating quite a bit more so we're pretty diligent about those. But that's really the easiest way for us to support a charity or a community event, unfortunately. Downie: But those are facts that, you know, people need to be aware of. And you both talked about how much learning you've had to do along this path. D Bagby: We’ve done some kind of other fundraisers, though. J Bagby: Yeah, we've done some onsite things. D Bagby: There have been a couple of military things that we've supported and— J Bagby: And the dogs, yeah. D Bagby: So there's a few things that we really, really kind of key into that mean a lot to us. But yeah, I think as a— J Bagby: Firefighter-- D Bagby: Pint Project. J Bagby: Yeah. A couple of onsite things that were pretty successful and, you know, we're just--you get back to this, like you can't do them all, you know? And as not nice as it sounds, it does need to benefit us in some way as well. Because we are offering up a lot when we do these things and why we want to help the community, we want to help these people that need help in some way, we just have to be careful. D Bagby: Yeah. Exactly. Downie: Yeah. Because, you know, I mean, not every charity is a 501(c ) or is required and you get into all kinds of thin ice. So, very understandable. But, no. D Bagby: Now that's one of the things that I think is a benefit to us as Jeff has made it his mission and his absolute business to know as much as he can about ABC licensing. Just any sticky situations that are pitfalls. The San Diego Brewers Guild (a nonprofit organization that promotes San Diego breweries) just hosted like a ABC meeting at a local brewery a couple of weeks ago. And I feel like we knew a lot of that stuff that was mentioned, but it's still great to go and be a part of that. J Bagby: It’s like a refresher course. D Bagby: It’s a refresher. But you can just see in the room, people— J Bagby And you get questions and hands go up. And you’re thinking “You can’t do that.” D Bagby: Yeah. yeah. So, it was really interesting to see people's reaction to these rules that many of not all--I've been really long standing for a long time, but if you don't know, you don't know. And I think there's a lot of ask for forgiveness later, which may have worked in the past, but as the ABC gets more versed, they get--there are certain things that they were getting very particular about as they should. Downie: Well, once they see it as a continual problem, that it keeps happening, they're going to start coming down and— D Bagby: Yeah, and it's, you know, it is--I believe that it is your job as if you're going to have a license that you should know how it works and what--it's a responsibility. And it's hard for us to sometimes see other breweries who don't know. And that's fair if you don't know initially, but that blatantly break these laws all the time. And you don't want to see them get in trouble, but you also don't want to set up. It sets expectations on the customer side it sets expectations on other breweries’ sides were like, well, “They did it, why can't I?” And so of course for people like us who, like I said, risk averse, we want to make sure that we're--I mean, our biggest asset, those are the alcohol license. That's why we're here. So, if something happens to that, it gets jeopardized that's--that is a bad thing. (laughs) Very bad. So, yeah, it's, it's been talking about education. That's something that I've learned a lot from Jeff. And we've offered up if anybody has questions certainly here locally, you know, we're always available. People want to bounce an idea or, you know, find out more, we're happy to help. Downie: So, you're active in San Diego Brewers Guild. Because I saw you at Guild Fest (SD Brewers Guild Fest) and you just mentioned a recent meeting. Are there any other organizations you're active in or are members of--? J Bagby: We’re members of the Brewers Association, the National, um— D Bagby: CCBA. J Bagby: And the California Craft Brewers Association. Also, the MBA, the Masters Brewers Association of America. D Bagby: I'm actually a board member on the— J Bagby: San Diego. D Bagby: Brewer’s Guild. But yeah, there's a lot of those little things like that. J Bagby: I think those are the main ones, but those are all, I mean, there's some international stuff, but yeah. Downie: Yeah. What are you going to get involved in? I mean, again, it's kind of like the finding the charities that are actually going to be beneficial. Is that going to benefit you? J Bagby: (unintelligible) international. Well, yeah. I was going to say the only benefit for us because, you know, they have incredible conferences and technical courses. (Downie laughs) That would probably be the only reason for us to really be a part of those. And there's some competitions, there's some, some bigger European competitions that are gaining a lot of speed and a lot more Americans are actually sending beer over and winning medals. So, it's something to watch. But yeah, it's not like, you know, where we're going to Brau and Nuremberg every year or something like that. Downie: Well, that does bring up. When did you start putting your beers into competition? D Bagby: Good question. J Bagby: That was back when I was at Pizza Port at Solana Beach. We entered beers at Stone, but they weren't really--I didn't have anything to do with the recipes of those beers. Downie: Okay. You were an assistant. J Bagby: I was just standing there, but when I got to Solana Beach and was working with Tomme, some of those were my ideas and my things where I brewed them, or we brewed them together. It's a bit more intimate and I was a little bit more involved. So, I would say there, really. And that's where, you know, won, our first, or my first time across the stage. (laughs) Downie: Have you kept a list of all the awards you've won (unintelligible)? J Bagby: She did quite a bit of work on that before our business case. Before we opened. But I think she ended up just tallying GABF awards and World Beer Cup awards. Because there's certainly other things, too. There's like Alpha King. I’ve won that three times. That's the Hoppy Beer Competition that they hold during the GABF, that’s not associated with the GABF. Some awards at San Diego International Beer Festival, what do you call it? Beer of the Year, three times there. And some various other medals in, you know, have we ever entered LA county? A couple of times. So, you know, some things here and there. IPA festivas up and over North and Hayward. Years ago, I won medal at the Alaska Beer and Barleywine Festival. Downie: Oh, Alaska. Wow. You've really reached out here. J Bagby: It's a very long running, very famous festival. Downie: I’ve heard of it, yeah. But it just seems very interesting to me that if somebody were keeping a list of what beers they had won awards for, I think that would tell a story about some of the changes in styles and some of the expansion of styles of beers. J Bagby: Yeah, yeah. Maybe, I don't know. I was talking to somebody. I was in Miami at a festival this past weekend. A friend of mine, his anniversary for his brewery. And he throws a festival that coincides with it. It's invitational. Anyway, he invited me and I was like, “Yeah, I've never been to Miami. I'll go.” So anyway, I was talking to another brewer friend who was there and he was like, “Oh, well, you know, you won lots of IPA (India Pale Ale) medals,” and you and I was like, “Boy, yeah, I won some of those,” but also won in Belgians and a lot of different stout medals. And, I even have a couple of German pilsner medals. Some other like, you know, Scotch Ales, like Brown Ales. It's kind of a wide gamut. So, I don't know if my medal history would necessarily tell much of a story in that way. Maybe. Downie: Yeah. Well, I think the more pieces of evidence there are, the more our story can be put together. But have you ever done judging? J Bagby: Oh yeah. Yeah. I've been a judge at the GABF (Great American Beer Festival) and the World Beer Cup for thirteen years. Thirteen, fourteen years now. I don't remember my first judge GABF. It was like 2003, I think. So, yeah. I've been doing that for a long time and I'll be doing that this year in National. Downie: Yeah. I've heard comments that GABF has gotten so big and so many categories that has just really become kind of overwhelming. How do you feel about that? J Bagby: I wished that they would, on the organization side, that they would grow the competition to represent the growth in the beer industry. I get what they're trying to do and what then they have limitations, but sometimes I think they're being a little harsh on the restrictions on their side. You know, there's almost eight thousand beers in there, in the GABF last year, and I'm sure the World Beer Cup will be around that. And I think there's seventy-nine categories. They haven't expanded the categories too much in the last five years. I think maybe ten years ago there might've been sixty-something categories. So, it hasn't expanded a whole lot, but what has is the entries, right? So, brewers used to be able to enter around eight beers per brewery, or brewhouse, location into the competition. They've changed that and they have several different categories in ways, you know, like a Pizza Port that has five locations. You know, what if all five locations enter beers? Well, they have stipulations on how many beers a corporation, or a set of breweries, that are under one ownership can enter. So, every year that we've been a brewery, we've entered the maximum number of beers that we can enter into the GABF. And that makes it difficult because you only have four shots, right? Like we're sending four beers to the World Beer Cup. So, it's a more difficult. But so does everybody else. And so, everyone else has to make the decisions and the kind of cuts in their mind of which beers they want to enter, which ones that they're going to pass on for this year or this competition or whatever it is. So, it's still very fair. I think it's still judged very fairly. Probably the most fair competition there is in beer because of the qualities, the qualifications of the judges, and their palates and their history and their tenure as judges judging beer. It's all judged blind. It’s done very, very well. The problems I see with it are the categories that are masked, or you have over two hundred beers in the category: American IPA, Imperial IPA. I think American Pale Ale is pretty high. Some of these other ones that they get close to, you know, that are well over one hundred beers. You're getting into a situation where the algorithm isn't--so, you know, when they're spitting out their initial rounds and the algorithm that isn't accounting for past medal winners. Or beers--so you could have a round that has eleven beers in it, say it's American IPA, and that round might not have a single beer that's ever been in the competition before, or all new breweries that have never been to a competition for it. Then you could have another set of eleven beers where every single one of those beers has won a medal in the American IPA category before. And they’re, as far as I know, they're not accounting for that. And to me, that changes the game a little bit. Because even if you're a judge and you, at which has happened before, you'll get around and you'll be like, “Man, it was tough to pass on three of those beers, really could have passed on two or even just one and save the judges down the road some tasting.” Well, they require you to pass on three. They really push you to pass on three. If you absolutely can't then they want to hear why and want to hear an explanation. And so, I just believe that in that sense, you know, well maybe it's okay, but in the other sense where they're like, “Man, we had eight good beers. It was really hard to only pass on three beers.” So, now you've got this thing where you might have a potential medal winner that gets knocked out early because it was in a round with all excellent beer. Downie: Yeah. J Bagby: So that's--if I had a complaint about them, I wished that they would account for that. Especially in those--there's only, I'm talking to a handful of categories where that is really something I think that comes into play. The only other thing might be, like I said, to have grown with the competition or with the industry and allow brewers to enter more beers. But that takes more time. It takes more judges. They try to get the judging done in three days. If they didn't, they'd have to get another day, which is paying more, but you have to pay to enter the competition. So, to me, there's some work that probably could still be done. And there is a lot of brewers out there that are like, “Oh GABF. It's kind of eh.” You know, I believe in what my beers are and I send them and either I don't win medals or other beers win medals in the category that I entered that I don't think are as good as my beer. I think you have people that feel like that. But having been a judge, I've been on the tables. I've never been in a case where I was like, “That beer should have won a medal and it's not in the top three,” you know? I've never had a case where there wasn't a lot of thought and a lot of time spent into the beers that actually win medals. They’re medal-winning beers. Downie: Okay. I had a question and it’s just completely slipped my mind. J Bagby: Sorry. I know. Downie: No, that's okay. It still had to do with this. Um, I don’t know. (laughs) J Bagby: With the competition, or--? Downie: Well, oh, I know what it is. The brewers themselves decide what style of beer they’ve brewed. Have you run into cases where you taste a beer and you go, “This has--should have been in this category, you know. What were they doing putting it in here?” J Bagby: Yeah. Yeah. And the BA (Brewer’s Association) is real upfront about that when they tell brewers, you know, read the style guidelines and make sure that your beer fits into those guidelines and they give you everything. They give you a verbal description of the bitterness, color, aroma, mouthfeel, text--you know, everything. And then they also give you actual numbers for alcohol range, color range. Those are the things you need to pay attention to. And I feel like there is brewers that still don't pay attention to that. I don't know how or why. Or if they've just mislabeled their beers or what happened. But, they're—it’s pretty upfront. Like, this is--the judges have this when they're sitting at their table and they're going to read this before they start judging your beer. So, why would you enter something that doesn’t fit? Downie: Yeah, because you don't know why. Because I was thinking, well, maybe it's just their taste buds are different? Or it didn't transport well. (laughs) J Bagby: Yeah. I think, you know, for instance, she (D Bagby) sent me a picture one day. She had a Kölsch earlier. I can't remember what brewery she was drinking at. But she sent me a picture and it was this hazy beer in a straight sided pint glass. And she wrote “Kölsch--?” And so of course I went, “What does it taste like? Where are you at? Blah-blah-blah.” But a lot of people would look at that and go, “Well, Kölsch should be bright,” you know? Any German from Cologne is going be like, “That's hazy,” that’s got--you know. Even chill haze shouldn't really be there in a Kölsch. Downie: Okay. J Bagby: And a brewer's interpretation is one thing of what they call it on their menu board versus, you know, what category they might enter it in GABF. So, a beer like that might be an entered in a Keller beer. Because it might be an unfiltered Kölsch. So, they might say, well, “Yeah, it's German style Kölsch,” but it's actually a Keller beer because it was brewed in the vein of a Kölsch, but Keller is a German style beer. Downie: And that’s “K-E-L-L-E-R?” J Bagby: Yeah. Downie: Okay. I'm still learning all the— J Bagby: Oh yeah, there’s tons. And that's-- Downie: There’s huge number of beer styles. J Bagby: Yeah, and there's, you know, historical beers that are becoming more popular and more rare, more obscure recipes and styles where there's a little bit more confusion or debate over what is actually correct. The Brewer’s Association does a good job of refining their categories and reviewing them each year. So, they take judge's interpretation—or judge’s comments on style descriptions. “No, no, this actually should be this way,” or “This should allow for this and this as well as this,” you know, so they do a good job of keeping up with that. But yeah, if you, you know, taste a brewer’s altbier at one brewery, and then he goes to another brewery and tastes another brewer’s altbier, they could be completely different beers. So, there that slide in judgment, but when you get into competitions, where's the category of your beer doesn't fit in it, then don't enter it. (laughs) Downie: Well, I mean, brewing is such a creative process. And there are as best as you can try certain factors like, you know, a Centennial hop may not be exactly the Centennial hop it was the year before due to the growing season, the factors there. So, it really is a creative process, but I've been kind of interested in the whole, you know, yes, I've seen some of these categories and descriptions and I'm like, “How can you always guarantee that those beers?”--well, obviously not. Not surprised. J Bagby: Yeah, there's interpretations of (unintelligible) category descriptions in different ways, for sure. Downie: Well, while you were meeting that account, Dande was telling me how, you know, when she first met you, how you were educating her into all the varieties of beers, you know? How she has found that to be so helpful. And then just the brewers I meet all seem to be that way as they to educate someone who--on the various styles that they're brewing or they're enjoying right at the time. Do you find that wearing? You know, continually trying to educate more people? J Bagby: I think when it's--if I was doing it every day, I think it might get—or the same exact set of beers every day or the same exact descriptions of the same person or the same, you know, whatever. I think I might get a little tired of it. But to me it's kind of exciting, especially when you have somebody that's open to it and isn't restrictive of themselves in their own palates. So, if you have somebody that's like, “I've never tasted German-style Weisse beer. I've never tasted American Red Ale,” which is kind of a better example. “I've never tasted Irish dry stout. I've never tasted—" you know? Whatever it may be. And if you can get five or six of those things in samples right in front of somebody, that's going to be a really cool conversation. Especially if that person's open to tasting and listening and identifying with what you're talking about in each one, you know? When you say, “Oh, what do you smell on that? What are you getting that? Okay.” Those types of things come from this ingredient or this timeframe or this hop or this malt and--or whatever other specialty ingredient might be there. And when the person identifies and goes, “Oh wow, that's really cool. I never thought of it like that.” All of the sudden you've got somebody who thought they hated German-style hefeweizen and going, “No, actually I'm going to order that the next time I'm out because I want to compare it or I want to see what it's like again, and kind of—"you know? I think people like, you know, connecting the dots in their heads. And if you've given them a little bit, just to even a little bit to bite on like English-style bitter, or an Extra Special Bitter, you know, what does that mean? What does that, it sounds, it sounds harsh, Extra Special Bitter. Well, no, there's actually some really nice malt depth in ESB (Extra Special Bitter) and it should be there. Well, it should have a firm bitterness, but what kind of bitterness? Well, it's not American piney, citrus, passion fruit, floral. And it's not that kind of hop it's the more herbal, spicy, earthy hop from the English varieties. And even just that much, and a person can go, “Oh, well, I really liked that.” Downie: And it makes it more accessible. J Bagby: And the next time, the next time I see it somewhere, I've got that connection in my brain to go, “Yeah, I know what I'm ordering it and there it is. Affirmation.” I'm drinking it. And it smells and tastes like I remembered. And I was told that it should. And I get that a lot where somebody will say, “Hey, you mentioned that, you know, this style beer can have this, this, and this. But I tried it over here and I got this, this, and this.” And that's sometimes where the brewer’s discrepancy is between styles or different ingredients or maybe just something is slightly different. But you can explain that away. And therefore, they've learned a little bit more and they have their file on whatever that beer was just got a little bit deeper in their head. So, the next time they try it and they connect the dots again. And I don't know, to me that's fun. That's exciting. And it's really exciting to see when someone's open to that and is engaging in that. It's kind of a little bit difficult when somebody says, “Oh, I don't like bitter beer,” or, “I don't like hops.” And you're like, “Well, you just haven't tried the right hops yet.” It's like, if you like beer and you're say you're a beer drinker, I believe--yes, you can have your favorites and the ones that you don't think are as great to you, but you got to try everything. You know, there's some newer, crazy styles out there I get, but the basics, ales and lagers, and the families within there, the style of families, if you say you're a beer drinker, you should know those or have a basic framework and understanding of what those are or have the desire to go, “I've never really tried that. I'm not really familiar with that, but I want to see. I want to see what it tastes like so that I know if I really like it, or I don't.” To like, find that out later, you know, like give yourself the chance to like it. Downie: It's like the three-bite rule with the kid and the vegetable. And then, you know, you got to at least try three bites of it. And then if you don't like it, we'll go from there. So that's a good way to do it. Now, do you have a favorite hop? Is there one that you like brewing with more than others? J Bagby: There’s definitely hops—plural--that I like using. We're a pretty classic traditional brewery. So, we stick to pretty traditional classic styles of beer. So, we're not using too many of the new, exotic, crazier hops. We're sticking to more of the classic American Pacific Northwest American hops and then the Nova varieties and then the English varieties. So, on the American side, you know, we're using a lot of Cascades, Centennial, a little Amarillo and Simcoe, and Columbus and Chinook. And that's kind of our core for the American side, but then the English ones are really wide and Noble hops as well. We use a lot of different varieties and again, not a lot of real new flashy ones, in part because of our contracts, we didn't know how and when our brewery was going to open. So, I bought a lot of hops because I was afraid that we weren't going to have any when we opened. So that drove that a little bit. The other part was just, yeah, I really liked those more classic American hops over some of the newer ones. Not to say that I don't like sprinkling a little of them here and there in brews, but I tend to favor those classic ‘C’ hops (referring to Chinook, Citra and other hops starting with the letter C.) Downie: And so you don't, from what you're saying, I'm hearing that you probably aren't planning on doing, you know, real strange and experimental beers either, you know? You're going to stick with the more--? J Bagby: No, I think if anything, I would pick some of the more obscure older styles. I’ve talking with some friends about a smoked wheat beer that used to be made that is actually--I believe it's actually a lager yeast and it's a fairly bright beer. But it has a smoked character to it, and a little bit of bitterness and wheat malt character to it. But I'm always afraid to brew smoked beer because I think, I always think that it's going to be me and like three other people drinking it. (Downie and D Bagby laugh) Downie: Yeah, it could be a big mistake if you brewed it on your big system. So, do you have a small system that you can do little test batches on? J Bagby: No, it’s— D Bagby: It’s all or nothing. Downie: Well, that goes to being risk averse again. J Bagby: Yeah, we have a little lager on right now. I think it tastes fantastic. I just think it doesn't--I just think it's not exciting to people. It's a Belgium style beer. If you're familiar with Belgian style dubbel, which is basically like a Belgian style brown ale, but it has a Belgian yeast character to it. So, it's a little spicy and dark fruit and things like that. Well, take that and cut it in a little less than half with alcohol and flavors and everything else. We dropped it down to only about four and a half percent. It still has a lot of those characters, they're just a lot more mild and it's not as big and it's not as heavy. But it's not selling at all. (laughs) So, even somebody even called it dark Bud Light in the online comment. Downie: Oh dear. (laughs) J Bagby: That was fun to read yesterday. (laughs) D Bagby: That’s alright. It’s not for everyone. J Bagby: Nope. And that's exactly. That's kind of how we thought about it. Downie: One person's interpretation. J Bagby: Exactly, exactly. Downie: But yeah, if you're seeing that it's not really selling then, you know? You kind of-- J Bagby: Yeah, we (unintelligible)-- D Bagby: We had a few beers like, but that's, I mean, unfortunately, a few of them were Belgian styles. J Bagby: Yeah. D Bagby: But, Bruges Cruise was on for a long time. J Bagby: Well, that's because it was over eleven percent. We had people that loved that beer. But, we sold that at eight ounces at a time. D Bagby: Yeah, but we had it on tap for a year, also. J Bagby: (Unintelligible). D Bagby: They do A12. They do A12. Which is good. Downie: So, do you have much of a barrel aging program? J Bagby: We started one. We had, uh, we did twelve barrels and then we did another set with a different beer of just four barrels. All, most, all of that is gone now. So, we just brewed up Imperial Stout and we're getting ready to purchase thirty barrels. Just deciding what other beers we're going to put in those barrels and talk with the broker about making sure we get them as fresh as possible and which barrels they'll have available at that time. So that we're not filling barrels that have been sitting around drying out for months. They were nice and fresh. Downie: Yeah, you want to be able to extract something out of those barrels. (laughs) J Bagby: Exactly. But it's fun. I like doing it. But we do all straight up beer. We don't use any Wild Geese (blended whiskey) or-- D Bagby: Cupcakes. J Bagby: Or anything like that. (Downie and J Bagby laugh) So yeah, that’s fun. That's, to me, that's--I don't know, that gets to the uber fun side of brewing. You're like, “Oh, I'm going to put this thing in here.” Well, we had that beer that she was talking about in there for eighteen months and I just served it in Miami last weekend and it tasted phenomenal. Downie: (laughs) Love it when something works. J Bagby: Yeah. And sometimes they're don’t. That’s true. Knock on wood, we were pretty lucky with our barrels. Yeah. Downie: Okay. Well, I think I've exhausted all my questions. I learned a lot from you both. I've very, very, very much appreciated your time. D Bagby: Oh sure, our pleasure. J Bagby: If anything comes up or you're going through things and just feel free to email me or her and follow up. Downie: Come back with something that didn't record or transcribe or something. D Bagby: Don’t hesitate, we're happy to happy to help and also believe in what you're doing, and also-- J Bagby: Definitely. D Bagby: And also love to talk about all this kind of stuff, people that-- J Bagby: Yeah, it’s fun. D Bagby: People that are interested in it. Because, you know, we work so close to it, it's our life. But we are still--we are very passionate about it. And hopefully that comes through a little bit, even in construction stuff, and crazy things like that. Downie: I definitely see you have a future as working as a brewery construction consultant. (J and D Bagby laugh) Because really, you have gone through a lot of effort to educate yourselves and to do it right. And that kind of knowledge really should be shared. I mean, that's something I admire about Mike Hess. He wrote that, you know, ‘starting up a brewery’ webpage, but that still doesn't tap on everything. And especially, you know, doing something like this, of course every situation is going to change with every city you’re dealing with. D Bagby: But there are some basics that I think we would have really benefited from big time. And I think we would have heeded, we would have paid attention if somebody was like, “Hey, we just did this. Here's our experience. I'm here’s just how you can, you know, maybe avoid some of the pain, some of the pain points.” J Bagby: Yeah, the building part and you know, the construction management. I mean, I think part of that goes a lot. Like I can use the comparison as somebody's going to buy their brewing equipment and calling up three different equipment manufacturing and saying, “I want to buy a ten-barrel system, give me a quote,” and get three quotes and then just choose which one they want and order the equipment and get it sent. Well, I went up to the equipment manufacturer’s warehouse and talked with the engineers for two days before they even started drawing plans for my tanks. And then when they were about to start doing the finishing and they connection piping and all the process piping, I went back up there and stood in my tanks and looked at all the cores and looked at all the valves were and told them where I wanted to move things moved or changed. And the different specs on all--every single tank, not just the, the brewhouse stuff, but the cellar as well. Because you might get your tank and go like, “Why the heck is it like that?” And I kind of compare that to construction. Like we could have probably sat around and worked on other things and let them take forever to build this place and would have had something in the end, that would have been, but it wouldn’t been us and it wouldn’t been right. And that's just how we operate. So, I think while we spend a lot of time on that and we feel that it was absolutely one hundred percent necessary, some other people might be like, “Well, he didn't really need to do that. You could of—” D Bagby: Get by. J Bagby: But it's not us. I guess that was what I was trying to say. Downie: You have invested heavily in this, so why not have it right? But, Plan Nine (Plan Nine Alehouse) over in Escondido, I was over there one day and they didn't have any of their own beers on tap. And I said, “Gee, you don't have any of your own, I thought you were brewery.” And he said, “Well, we got new equipment and we've had continual leakage.” D Bagby: Oh no. Downie: And they, you know, this was like nine months that they had been dealing with it. So, you were exactly right in going--and I mean, even if you have to stand in your tanks and (unintelligible)— J Bagby: Well, and it’s kind of fun too. (laughs) Downie: Yeah, yeah. They will say, “Hey, I stood in my tank.” (all laugh) But, yeah. D Bagby: That’s too bad. Downie: So, something like that can go very, very wrong. J Bagby: Yeah, looking at welds and not (unintelligible). D Bagby: And also not having the support, because if you--when, you know, when you got your, whatever it is, whatever contractor you have or manufacturer having--actually, we're just dealing with the meeting before you got here or talking to a new point of sale company. And part of the reason is just a sheer lack of support on our current system. There's no one we can call and say, “Hey, you know our business, you know how we operate. These are the problems we're having.” There's just no one. And so, this other company that's--you absolutely have a person. So having your tanks leaking, you're losing money. You're, you know, that's literally money down the drain, and frustrating if you're a brewery owner, you’re a brewer, you definitely don't want to see your beer going down the drain. Yeah. Do you have the support you need from the manufacturer? Who's going to back up their work and if not, then pay a few more bucks and get somebody who will. J Bagby: Yeah. Downie: Yeah. So, a lesson to live by. D Bagby: Yes, that’s so true. Well, thank you so much. Downie: Thank you. Yeah, let's see. Where's my stop button? (Downie and D Bagby laugh) https://rightsstatements.org/page/InC/1.0/?language=en audio Property rights reside with the university. Copyrights are retained by the university. &#13 ; &#13 ; Please see the related “Preferred Citation note” for language on citing materials from this collection. &#13 ; &#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=BagbyJeffAndDande_DownieJudith_2018-02-21_access.xml BagbyJeffAndDande_DownieJudith_2018-02-21_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 Bagby, Jeff and Dande. Interview February 21, 2018. Description An account of the resource Bagby Beer Company emphasizes traditional style beers, a craft cocktail program, and a restaurant menu to complement their beers. Over the years, Bagby Beer featured highly admired and hard-to-find American and European beers such as Bierstadt Lagerhaus (Denver, CO) and Brasserie d’Orval (Belgium) to complement their lineup. Built on the site of a former car dealership (among other businesses), the Bagbys closely oversaw the construction from the ground up which opened in 2014. The site was also host to the Brewbies® cancer awareness beer festival (2015-2022) and the Low and Slow Lager Festival among other fund raising and educational events. Bagby Beer sold to Green Cheek Beer Company of Costa Mesa, CA in early 2024. Jeff and Dande Bagby are the founders and owners of Bagby Beer Company in Oceanside, CA. Holly Sweat is Publicist at Katalyst Public Relations. Jeff Bagby’s role was as head brewer and leading the on-site Beerleaders brewing education program. Jeff’s brewery experience includes Stone Brewing, White Labs, and Oggi’s Pizza and Brewing. His last brewery before opening Bagby Beer was Pizza Port, leading brewing operations for the chain from the Carlsbad location. During his time at Pizza Port, he led the team to win notable awards and medals such as the World Beer Cup and the Great American Beer Festival’s brewery and brewer awards multiple times. He is one of the most awarded San Diego region brewers, notably garnering more GABF Alpha King Challenge awards for best hoppiest beer in the United States than anyone to date (2005, 2010 and 2011.) He left Pizza Port in 2011 to devote his energy to finding a site for a brewery/restaurant in the San Diego North County beach area. With the sale of Bagby’s to Green Cheek Beer, he remains as the brewer and continues to focus on lagers and traditional styles. Dande Bagby worked as Director of Operations including marketing and customer experience. She designed much of the building. Her employment background includes the San Diego Zoological Society, education, environmental science, restaurant and craft beer bar management, and marketing and finance responsibilities for multimillion-dollar budgets at a Fortune 500 company. She remains active in the transition to Green Cheek Beer Company at this time. In their 2018 interview, Jeff and Dande discuss their introduction to craft beer; homebrewing; introduction of craft beer to the region; Jeff’s entry into the profession in the late 1990s; challenges and responsibilities of founding and building a brewery; packaging and distribution; charity work; competitions, judging, and awards; consumer education. Identifier An unambiguous reference to the resource within a given context SC027-053 Subject The topic of the resource Bagby Beer Company (Oceanside, Calif.) Brewers -- California -- San Diego County Brewing industry -- California -- History Microbreweries -- California -- San Diego County Date A point or period of time associated with an event in the lifecycle of the resource 2018-02-21 Format The file format, physical medium, or dimensions of the resource audio Creator An entity primarily responsible for making the resource Jeff Bagby Dande Bagby Contributor An entity responsible for making contributions to the resource Judith Downie Holly Sweat Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oceanside (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. California State University San Marcos Brewchive(r) 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 Diania Caudell Interviewee The person(s) being interviewed Linda Kallas 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=KallasLinda_CaudellDiania_2022-12-22_access.xml OHMS Object Text This field contains the OHMS Index and / or Transcript and is what makes the contents of the OHMS object searchable in Omeka 5.4 Kallas, Linda. Interview December 22, 2022 SC027-051 00:39:59 SC027 California State University San Marcos University Library Special Collections oral history CSUSM This interview was recorded as part of the North County Oral History Initiative, a partnership between California State University San Marcos and San Marcos Historical Society &amp ; Heritage Park. This initiative was generously funded by the Center for Engaged Scholarship at CSU San Marcos. csusm Arts education Basket making California State University San Marcos Death and rememberance Education -- Native Americans Illustration of books Luiseno Indians Pablo Tac Elementary School (Oceanside, Calif.) Oceanside (Calif.) Valley Arts Festival (Oceanside, Calif.) Women artists Linda Kallas Diania Caudell KallasLinda_CaudellDiania_2022-12-22_access.mp4 1.0:|18(15)|33(5)|44(15)|58(8)|78(2)|94(7)|108(18)|122(13)|148(14)|161(11)|179(11)|193(6)|209(8)|222(8)|233(11)|256(15)|271(4)|291(3)|303(3)|316(18)|326(3)|338(8)|365(4)|394(4)|412(6)|422(6)|433(7)|460(4)|472(3)|483(6)|499(7)|509(9)|525(4)|536(6)|552(16)|562(8)|575(7)|588(11)|600(7)|618(7) 0 https://archivesoralhistories.csusm.edu/files/original/b51d19e031c6564af02b12943939dc32.mp4 Other video English 0 Introduction Hellos are exchanged and introductions are said. Diania Caudell ; North County Oral History Initiative ; Linda Kallas 0 47 Early childhood Kallas describes her early childhood in New Jersey, followed by her moving to California. Kallas discusses an automobile accident she was involved in while she was young, as well as brief family introductions to her siblings, stay-at-home mother, and father's alcoholism. California ; Newark, New Jersey ; Automobile accident ; Alcoholism ; Drummer ; Hughes Aircraft 0 158 Elementary education Kallas describes early childhood education where she moved around to seven different elementary schools. Kallas recalls her love of the library and her passion for learning as well as swimming. Kallas also recollects her father's artistic side, and discovering her own love of art through her father. Library ; Youth ; Elementary school ; The Secret Garden ; Darby Dolls ; Art 0 231 Childhood activities Kallas describes her youth in the things she was drawn to, such as swimming, drawing riding bikes. Swimming ; Pool ; Parade ; Bikes ; Draw ; Art ; Paint 0 302 Post high school Kallas describes her life right after high school, with her marriage to her high school sweethart, moving away from her home to Crestline. Kallas also discusses breaking up with future husband, discovering her independence, and then getting back together and starting a family.&#13 ; Marriage ; Graduation ; Snow ; Medical Assistant ; Family ; Sons ; Crestline, California 0 406 Undergraduate and postgraduate education Kallas decides to go back to school, where she received an Associates of Arts degree in Early Childhood Education. She went on to attain two BAs from California State San Marcos, and continued for her master's and became a teacher for almost eighteen years at Jefferson Middle School. AA ; Casa De Emparo ; Teaching ; Master's Degree ; Middle School ; Art ; Drama ; El Camino College ; CSU San Marcos ; National University 0 549 Volunteering at the Oceanside Public Library Kallas describes her time Volunteering at the Oceanside Public Library and the Mission Branch Library. Through these, Kallas helped create the Art for Older Adult program. Kallas has also illustrated a children's book, "Mel and the Blue Arrow," written by Cathleen Chilcote Wallace, a Luiseño storyteller, writer, and elementary school teacher, and a coloring book written by Diania Caudell. Volunteering ; Coloring ; Book ; Oceanside Public Library ; Literacy Center ; Art for older adult Program ; Mission Branch Library ; Mel and the Blue Arrow ; Luiseño Indians 0 670 Living in Oceanside circa 1989 Kallas describes what life was like in Oceanside 1989 ; its rural nature, ease of getting around, and agriculture. The construction of the 76 Freeway prompted a move to a senior community. Kallas discusses the places she likes to visit in Oceanside. Oceanside 1989 ; Farmland ; Pumpkins ; 76 Freeway 0 759 The death of Kallas's son, Jake, and coming to terms with his passing Kallas discusses son Jake who was killed in a car accident in 2010, and while trying to deal with that traumatic experience, found the San Luis Rey Bakery and the flute circle there, where Kallas and her husband joined a new community. Death ; Ivy Ranch ; Hohomi Park ; San Luis Rey Bakery ; Flute Circle ; Commemorative bench ; Luiseño Indians 0 970 Joanne Tawfilis and her murals Kallas talks about muralist Joanne Tawfilis and her work, as well as the Muramid Museum and Arts Center, a UNESCO Peace Center. Muralist ; UNESCO Peace Center ; Joanne Tawfilis ; Uvalde massacre 0 1073 The Literacy Center Kallas describes her with the Oceanside Public Library's Literacy Center, helping developmentally disabled adults. Adult Education ; Literacy Center ; Art ; Language Artist ; Oceanside Public Library 0 1188 Retirement Kallas describes her passions after retirement, such as drawing and opening her own business, Floating Hearts Connections. She also talks about swimming, and meeting with friends. Also the conversation occurs between Linda and Diania of placing Linda's art in the Oceanside Art Walk. Drawing ; Swimming ; Business ; Floating Arts Collections 0 1409 Mentors Caudell asks Kallas about a mentor/role model in Kallas's life. Kallas speaks about her father and his passion for painting, and speaks about how her mother pushed her to become a professor. Kallas also speaks about a couple professors Linda had in college Deborah Small, and Yareli Arizmendi. Kallas also mentions her recent friends that she has made, like Mel, Diania Caudell, and family members. Mentors ; Family ; Professors ; Role Models ; Deborah Small ; Yareli Arizmendi ; Diania Caudell ; Joanne Tawfilis 0 1620 Friendships, basket making, Valley Arts Festival Kallas speaks about her friendship with Mel Vernon (Luiseño), she mentions how close they are and the impact he has had on her life. Also mentions specific moments in their friendship through art. She also speaks to her passion for basket making and how she struggles but enjoys it. Kallas also speaks to the Valley Arts Festival, which just held its second festival. Friendship ; Bond ; Music ; Artword ; Art ; Basket Making ; Valley Arts Festival 0 1976 Proud accomplishments Kallas recalls winning teacher of the year, which she describes as one of her greatest accomplishments. She also mentions how her artwork is something that she is proud of. To this she talks about her long-term goals in in creating a website to market her curriculum, honoring the native California peoples, and writing books, including a new book in honor of her sister. Teacher of the Year ; Books ; Writing 0 2161 Regrets in life Kallas, asked about her regrets in life, brings up her mistakes and how the mistakes are what make you who you are. She also talks about how positive outlets impacted her life, such as yoga and meditation.&#13 ; &#13 ; Regrets ; Mistakes ; Experiences ; Yoga ; Meditation 0 2310 Final thoughts/final message Kallas has a final message to the viewer of the video, as well as a final heartfelt note about her passed son. Goals ; Interests ; Love 0 moving image Oral history interview of Linda Kallas, December 22, 2022. Interview conducted by Diania L. Caudell. Linda Kallas is a retired middles school art and drama teacher who has collaborated with other local artists and authors on a variety of endeavors, including illustrating "Mel and the Blue Arrow" written by Mel Vernon (Luiseño). Kallas and Vernon also collaborated on a Luiseño/English coloring book and on an arts integrated curriculum taught at Pablo Tac Elementary School in Oceanside. Kallas is also on the committee for the Valley Arts Festival that celebrates Luiseño culture each November at Heritage Park, Oceanside. In her interview, Kallas talks to Diania Caudell about topics such as family, school, higher education, post-college life, and her various art and cultural projects. Diania Caudell: Good morning. My name is Diania Caudell and I’m, today I’m interviewing Linda Kallas. And today’s date is December 22, 2022. I’m with the North County Oral History Initiative. And it’s a class that we’re both been taking. And so, this is my 2nd interview. And wish us luck here! Are you ready, Linda? Here we go! Linda Kallas: I’m ready! DC: Okay. We’re going to be starting really simple and everything on that. That’s what they told us to keep it going so to make sure that you’re going to be really at ease. And you can smile when you want to, or whatever. So, let me know. LK: Yeah. DC: Uh, just when and where were you born? LK: I was born in Norton, New Jersey in 1953. And we lived there ‘til I was three and then we moved to California. After I was hit by a car —I have the dent to prove it right here— (rubs the pointer finger of her left hand on a portion of her forehead) I was in traction for several weeks in the hospital. And then my father had an opportunity to be in California for a new job. So, we moved out here. My left leg was three inches shorter. I remember the limp. (paddles her hands in front of her) I don’t remember the accident. I remember the hospital. But the limp—The leg grew and caught up with the other leg. So— DC: You want to tell me a little bit more about your family? LK: Um, my dad was a drummer by profession. And then after he had three of us, three children, and we moved to California, then my sister was born. And having four kids—and my mother was only in her early twenties—they got married really young. He finally got a real job, working as a plumber for a big—I think it was Hughes Aircraft. And then it was—we had a lot of turmoil because of his affliction. He was an alcoholic. And mom was a stay-at-home mom. And then I had two—she had two more boys. So, there were six kids in the family. And then they stayed married ‘til I think I was seventeen. And then they divorced. And that was chaos too. But anyway. DC: Anyway. Okay. Would you like to speak of what school was like for you as a child? LK: Well, we moved a lot. So, I went to like seven different elementary schools. We moved all the time. And I have fond memories of elementary. That’s kind of my safe place to go to, remembering good things. Like I had a teacher in third grade that read us The Secret Garden and that sparked my love of reading. She would read to us every afternoon. And I just loved hearing that story out loud, and then the library at the schools. The library was a safe zone for me. School was my safe zone. And I think that’s why I furthered my education because it was something that made me feel good. Learning, I loved learning. So, but, so there wasn’t really anything negative at school for me, other than high school and the cliques and the—you know how that is. (Diania chuckles) I stayed away from cliques. I was friends with everyone. I never fit in to one little group. I just always was friends with everyone. So— DC: On the activities when you were a child, I mean, what were you drawn to mostly, other than the reading and the library wizard? LK: Swimming, because we finally moved into a house with a pool. And I swam every day. That was my—I just loved— to this day, I love to swim. Mom always tried to get me to be like a cheerleader. She forced me to do—it was called “Darby Dolls” (makes air quotes with her hands). They were just pom-pom girls. (motions as if waving pom-poms) And I was in a parade and I remember just being miserable. Just, that just was not me. Because I was a tomboy. I wanted to do what the boys did, ride bikes. I wanted to have a paper route. Girls were not allowed then to have paper routes. So, swimming was really one of the things I loved to do. And I drew. I always loved to draw. My father also was a visual artist. And I remember watching him paint murals on the wall. And it just seemed magical to me that he could tace this blank space and all of a sudden there’s a bush there or a tree there. So, I think I learned my love of art through him. And that was part of his recovery when he would sober up. That’s what he would do. He would paint. DC: Now, one of the things though, from high school, you went on to college? What— LK: No. DC: No? LK: No. Not right out of high school. (shakes her head) DC: Okay. LK: No. I married my high school sweetheart. (Diania chuckles) Not married right away. We got together in ’71 —’70 was our first date. And then I graduated in ’71. And then we moved in together and we lived in Crestline, the mountains, for almost a year. But we were so dumb. (Diania laughs) We’re southern California brats, right? We didn’t know anything about living in the snow. So, I remember when we got our first electric bill and gas bill. And I went “You have to pay for that???” I thought it just came with the house. (Diania chuckles) So, um, that was quite the experience. And then we broke up for a year and I lived on my own, which was a really important turning point. I became a medical assistant, and I learned that I could take care of myself. I didn’t need to have another person to take care of me. And then we got back together. And then we decided to get married five years later and start a family. So, we have two sons. And that was it! Two boys. That was enough. (both laugh) DC: So, when did you decide to actually go back to school? LK: Not ‘til after the birth of my first son. You know, a lot of things came natural to me, coming from a big family and being the oldest girl. I had to tace care of the younger siblings most of the time. So, the baby stage, and nursing them, and all that stuff came really natural. But when they became—when Josh became a toddler, I was like “Now what do you do with them?” You know, I’d play with them, and I wanted to learn more about child development. That’s what sparked me to go back to school. So, I got an AA in Early Childhood Education. And then I changed fields and worked in that field for years, through my second son too. And then, even when we moved here from L.A., I was a director of a crisis day care center, Casa de Emparo. So, that AA degree served me really well. I was able to make a living doing it. But then, there’s only—you couldn’t go any further than being a director unless I wanted to become a teacher of it. So, then I started helping out at the elementary schools with my boys. And I really loved that. And so, that’s what sparked me further and to get a teaching credential and then wind up teaching for almost twenty years and got a master’s degree in education, so— And I taught Art and Drama at the middle school level. And that was really, really fun. DC: So, did you go to a local college when you were down here? LK: I went to—I got my AA in L.A. at El Camino College. And then when we moved here, I’d gotten my BA—well, I have two BAs at Cal State San Marcos. And the master’s degree—I call it my drive-through. I shouldn’t say this. My drive-through master’s is through National University. DC: So, you were alone out here, right from Cal State San Marcos? LK: Yep. Mm-hmm. I am. DC: Yeah. Good for you. Okay. So, you’re one of the originals that were here on the campus. LK: Yes. DC: It was pretty small. Was it small? LK: Before the campus, they were in the Jerome's Shopping Center. That’s where I took my first classes. And I got the teaching credential through Cal State San Marcos as well. It took me a really, really long time because I did everything part-time. I still worked, had the kids, and then did schooling part-time. So, I was 44 before I ever stepped foot in my own classroom. DC: And then after that, you did it for how many years? LK: Almost 18. I was at Jefferson Middle School for almost 18 years. DC: And Jefferson is located where? LK: It’s Oceanside Unified School District. It’s in the older part of Oceanside . DC: And so, up to today you’re still with education in some forms. LK: Yes. I started volunteering at the library, the Oceanside Public Library at the Literacy Center. And I really loved doing that. And then I went to the Mission branch library and got with Jenna Lease. And we created the Art for Older Adult program. And that’s at the senior center in El Corazon. And next year, we’ll be at both senior centers. I also write curriculum which, Mel (Vernon), my interviewee’s brother (Diania chuckles), he wrote a book called Mel and the Blue Arrow and asked me to illustrate it. So, I did. And so, we’ve been selling that. And then we approached Pablo Tac Elementary School. They recently changed the name to that. And he—I proposed this curriculum based on Mel and the Blue Arrow. And then, with Diania, I put together a coloring book. Diania helped me with the translation. It’s in Luiseño and English. And that’s been very successful. So, the students will get Mel and the Blue Arrow and the coloring book. So, we start teaching there in February. DC: Twenty? LK: 2023. DC: 2023. Okay, when—for me, you know, and in it, being able to interview you, I mean it’s an honor to be with you and learn from you. But some of the questions on here, you know, you’ve been in this region here in Southern California, not just L.A., but down here in San Diego County for how long? LK: Since 1989. DC: So, 1989. So, you’ve seen changes that have affected where you’re living at or in the area. Are any of them for you positive, that you’ve enjoyed watching the change? Or is it some things that are coming through that are—feel like the region is getting too crowded? Or how do you feel about it? LK: It’s so different than when we moved down. Part of the attraction to this, to Oceanside was we lived in a condominium that overlooked the Mission. But that was all fields and there was farmland. And you would walk across the street and buy fresh pumpkins. There was a farm stand. We could walk to the river and float on the river. We can’t do any of that anymore. There’s buildings, buildings. The 76, we moved here before the 76 was completed. And they kept saying “Oh, they’ll never build it. It’s been on the books for years.” Well, they built it. And it was literally—you could throw a stone from our condo. The noise level was unbearable. That’s what prompted us to move to, now we live in a senior community, which is very quiet (Diania laughs) which we really like. And the streets are really wide. (both laugh) The neighbors are really nice. And so, we kind of found our niche there. DC: So, do you have favorite places in the community there in Oceanside or around the surrounding areas? LK: Well, my husband’s a surfer so we love the beach. We go to the harbor quite often to visit the bench of our youngest son. Did you want me to talk about that? DC: It’s up to you. LK: Our youngest son, twelve years ago, was killed in a car accident. And so, we placed a bench at the harbor, right across from the boat launch, in his memory. So, we go there quite often and sit on the bench and talk to Jake. I love a lot of the area there. I love Heritage Park. I love Ivy Ranch Parks. We love parks. Hohomi Park. All the parks we frequent quite often. I enjoy going to the Mission just because of the grounds more than anything. I feel like I’m walking in history when I go there. Having learned what I’ve learned about the Luiseños, it’s a way of honoring the memory of the Luiseños there on that land. It’s sacred land but not sacred because the mission is there. It’s sacred land because there was a village there. And I’ve learned a lot and learned to appreciate history in that way. DC: Well, one of the things that I think I’ve heard you talk about that’s unique is—okay, talk about when you go to the bakery, San Luis Rey Bakery. What was happening there when you first was going through there. LK: Oh. The bakery. (Diania laughs) After Jake died in 2010, the anguish was unbelievable. I’ve never experienced anything like that before or since. And I’ve been through a lot being raised the way I was raised. But that was just—that was like a part of my soul was taken and my identity. All of a sudden, I was searching online all the time for things to get my head on, out of the place it was in, and all of a sudden, this announcement popped up of a flute circle at the San Luis Rey Bakery. And I went (opens her mouth wide as if in awe) “Jim, we’re going to go to that.” (Diania chuckles) So, we went. It was about, not maybe a year later, I think. And Mel is the one that started that. And so, we started going faithfully every month. And little by little just the healing of that sound and the camaraderie of the people, and the friend—They were so friendly. Everybody was just so warm and friendly, and we just kind of felt like we fit there. And so, we went until— It wasn’t Covid hit, really. But through that, I became friends with Mel. That’s where we started talking about the book. And I became friends with Diania and other people, Marge and Rob, and the people that frequent the flute circle. And it just was—had a really, really positive influence on me. DC: Did you try to play the flute? LK: I have a flute and I do have one little tune I keep working on. DC: You should have brought it! (Linda laughs) We could have played it. Now, I’m going to get you to play the flute. LK: It’s not for public consumption. (both laugh) I probably wouldn’t be able to hit one note. (motions with her hands as if pressing on a flute) DC: Yeah. With the, you know, living there in the valley and seeing the different changes. You know, like you just talked about, and the flute circle is not there anymore. It’s not that they don’t want it. It’s just that the capacity and the people have gone on to other things. LK: Mm-hmm. (nods her head) DC: There is a unique area right next door also that you’re involved in. You want to talk about that a little bit? LK: Are you talking about the Muramid Museum? DC: Yes. Yes. LK: With Joanne Tawfilis? Um, yes. Joanne is a muralist. And she does murals for any occasion. But she usually honors, I guess, tragic events. So, if some kind of tragedy happens, she paints a mural. And then, she sends it to that place. The most recent was Uvalde in Texas when that crazy person shot all those children. But I help her with murals. She does other unique things as well. But murals seem to be her niche in life. And she’s also in the UNESCO Peace Center there. And one of these days we’ll have a grand opening, when the landlord signs off on it (motions as if signing something with her right hand) And she does different events there, like her partner is a drummer, so they do African drumming every Saturday. And she’ll have events there to honor things that are going on, like she just did her birthday event. That was quite unique. DC: I know that other things that you work with the community, you know, not just like the Muramid, but I’d like you to stress your art, involvement really with the art. It’s unique, you know, I think. So, you’ve shared other things that I wasn’t aware of, you know. And I think that’s unique for us to learn. But can you specify what you do there at the centers there in Oceanside with the— LK: Are you thinking of Studio Ace? DC: No, no. The one down in Oceanside by the library? What’s that center? LK: Oh, the Literacy Center. DC: Yes! Yes. LK: The Literacy Center, I work with developmentally disabled adults. We started a Read-and-Draw Program. So, I did a whole year of character education with them. So, I would bring in posters where they were learning art literacy, visual literacy as well. But each poster had to do with a character trait, for example, like compassion, or caring, or integrity. So, they got a different character trait that they learned. And then we would involve poetry. So, we would write poems. They would do a little drawing lesson and learn to talk about art. And they learned a lot. And so, we’re going to continue that next year. We’re changing the name to, which I really like, “Language Artist.” So, they’ll get—and it’s going to be based on the LeBrons art. He’s an abstract expressionist artist. And so, we’ll look at his art and then I’ll teach them a lesson. And then, they’ll write something. So, it’s all about literacy. And then, also, I’ve been involved with Studio Ace since its inception. I’ve been Julia’s advisor, consultant, whatever you want to call it. I set up programs for her at Laurel Elementary. And before Pablo Tac was Pablo Tac, it was San Luis Rey Elementary. So, two schools I wrote curriculum for, trained two teachers and then they took over. But, after that, I just would kind of consult with her, and we created some classes together for the library. And then I transferred from working with her to working with the library directly. DC: So, there’s going to be some changes in your life soon. But how has your life’s path evolved and changed over the years? LK: I think since I’ve retired, when you teach art or drama for that matter, the last thing you want to do when you go home is more of it because you’re so involved with it all day, seven and a half hours a day. So, that part of my life has really increased as far as my drawing, and doing art on my own, just for myself. But now, I want to tace that venture a little further and I’m going to—well, I’ve opened my own business. And so, I’m still going to be offering all the same things I offer right now—workshops, art lessons, curriculum, whatever people need, healing arts. I have a whole repertoire of stuff that I can offer. But it will be under the title of “Floating Hearts Connections.” And even that has meaning to it. Floating hearts is actually an aquatic plant, and the leaves are shaped like a heart and then this little yellow flower comes up. And it has five petals. And that has meaning to me because I told you before, I love to swim. Well, when I’m done swimming, my favorite thing to do is to float. And so, with that in mind, I was looking for names and talked with my husband, talked with you, talked with Mel. And they said—all of you said I have to include something heart felt because that’s what I do. I collaborate with people and provide healing through the arts. And so, when I found that, I went “Oh my gosh! Heart, floating, arts” and then the connections that I make. And floating is an acronym also for the love of hearts in teaching. So, it all just kind of fits it. And so, I have a little logo that I’m working on, and I have the business license. And I’ve got the insurance. I’m a vendor with the city of Oceanside now. So, eventually I’ll do a website and have like business cards. I’ll be all official. (Diania chuckles) So, I can go anywhere and do it. I don’t have to just stay in Oceanside. DC: Are you going to, at some point, be part of that art—is it the art walk, or whatever it is there in Oceanside with a booth or anything showing— LK: Oh. (sighs) DC: —what you’re going to be doing? LK: I hadn’t thought about doing that. DC: Yeah. LK: Maybe. I don’t know. It’s on my favorite— DC: Floating hearts. I can see it already, you know. I picture it, you know, on your canopy and the whole thing. LK: Well, Diania, to tell you the truth, I hadn’t considered it. (Diania laughs) But I do reach out to the organizations. Like I did a mural for Ivy Ranch Horse Park. And that was successful. And then Preserve Calavera, I did one. So, I do reach out to other organizations. But I hadn’t thought about doing it monthly at Art Walk. But I will consider it. DC: And once you get your logo going. LK: Yeah. Yeah. A lot of the stuff I do is volunteer. DC: Oh, yes. Yes. LK: So, that I think you have to pay. I’m not sure. But I can find out. I may have to pay for a table to do that. But I don’t know. DC: (chuckles) We’ve got some more things in there. LK: (coughs) Excuse me. DC: Some of these questions that I’m reading for this class and things, you know, I can talk more, and it depends on how personal you want to, you know, get into there. LK: Mm-hmm. DC: Like is there any mentors that you had through your life that have gotten you, you know, from one stage to another? You know, you can go back on— I look at it, you can go back on your life and, you know, from your childhood and, you know, the turmoil at one point. And you must have had some type of mentor. You did mention a teacher, you know, at that point. LK: Mm-hmm. DC: And then, almost everyone had some type in their stage that they don’t realize. There’s that mentor or that one person that it made a difference, either by saying something or doing something. Is there any mentor that you feel has helped you throughout your life? LK: That encouraged— DC: That encouraged you, that have gotten you to where you’re at today, and you want to speak about them or just mention them, you know, there, and how they helped you at each different phase in your life. LK: Well, dad was probably my first inspiration. Like I said, it was magical to watch him paint. Mom discouraged it. She didn’t—I guess she was worried that I was going to tace a path of no return or something. But she always wanted me to become a professional person. And it was interesting. We had a conversation on the phone one time. She said, “I always thought you’d be this professional businesswoman.” And I started laughing. And she’s all, “What’s so funny?” I said, “I am a professional, mom. I’m a teacher.” She goes, “Oh, not that kind of profession.” Like it was—she kind of thought of it as babysitting, I guess, in her own mind. She never looked at teaching as a profession. So, I think that got my dander up even more as far as “Well, I’ll show you.” But then, in college, I had many professors. Deborah Small was one of them, Yareli Arizmendi, many professors that saw talent and encouraged it in me, gave me more confidence, especially with theater. Yareli is a professional actress, and she was the professor there at Cal State San Marcos for a while. Her classes were fantastic, and I had a starring role in one of the plays we performed around the city. But Deborah Small, she kind of ventured off into computer art, which I found was not my niche. I preferred drawing. I’m a drawer. I don’t consider myself a painter. I draw everything. I can paint, and I can use color. But there’s something about a pencil and paper I love. So, there were colleagues , principals that I worked with that saw in me things that I didn’t know I had. But, most recently, it’s been people like you, Diania, and Mel in particular, Joanne, my husband, my son. My grandkids, Ty and Katie, are very important influencers in my life. And they’re like my biggest fans, so a lot of family. But a lot of—I think the friends I have now are the closest friends that, compared to past friends when I was younger, it’s different making friends at this age. It’s a much deeper level or something. It’s not superficial at all. So, I thank all of you for that. But I think the one who has pushed me the hardest has been your brother. DC: (laughs. Linda nods her head.) Well, he’s, to me—I’m just going to let you know—this was the interview going back and forth, and we’re talking here—is that he sees something in you, and he connect. And I think it’s the—you both are talented artists. He’s in the music field. LK: Mm-hmm. DC: And you show at your artwork, you know. You can express it through art. He expresses himself through music. LK: Yes. DC: And I think the two of you make a good compare because you bounce off each other, like brother and sister. It’s, you know, on that. LK: Mm-hmm. DC: It’s not like, you know, husband and wife. It’s more like a brother and sister type of thing. LK: Yeah. Yeah. DC: And you’re, you know—it’s good. And you can speak freely to each other, and it’s good. I think I’ve seen the growth in both of you on that. There’s other things that you have joined us with, you know, but you don’t mention it. You want to say another type of artwork that you try to get into (laughs). LK: Yeah, absolutely. But that’s only through you trusting me and seeing something in me that I didn’t know there either. Like basketry has been phenomenal. I just—I love it! And I love the process. I love watching the people do it. I enjoy helping you, and just the joy it brings people to put together a basket. You don’t think about that as being something people will be drawn to. But they are. And they’re just kind of one with their basket as they’re creating it, and the joy that is coming from them and the healing. Because like I tell my students, when you’re doing art, any kind of art, it’s just you and that piece. Whatever it is you’re working on, your mind is still going, and the problems are still there. But it takes a back seat because you are so focused on what you’re creating. And that’s where the healing begins, is—And basketry is like that. Something about going over, under, over, under (laughs) and getting it right, getting the tension right. It’s so important. It’s just really—The other thing that we’re involved in is the Valley Arts Festival which is—Julia started—well, she got a grant. And when she got the grant, she wanted to know what we should focus on. And her and I had talked about different cultures for many years. We wanted to do these things. And so, I mentioned the Luiseños because I’ve become close with you and Mel. And so, I introduced Mel to her and you to her, I think. And that’s where it went. We just started meeting and planning the Valley Arts Festival which is—We just did our second one, and it was a huge success. And so, hopefully, that’s going to continue every year whether she gets that grant or not. We need to continue it because we’re educating the community about just acknowledging the fact that the Luiseños were here ten or twelve thousand years before the encroachment of the white people. (both laugh) DC: It should be that way. But when are you going to go? I knew you’d say something about the basketry, you know. But that’s not the Luiseño. That’s not our traditional. That’s more the Cherokee style. What do you feel about learning when you have to sit down and you’re weaving with us, with traditional? LK: That is a challenge because the materials are so—You’re very precise about what materials are used for what part. And it took me a long time to learn even the names, the juncus, the—wait a minute. I’ll get it in a minute. DC: (whispers something) Yucca. LK: Yucca! (both laugh) That is the one I always forget! Always. But what you use for what part of the basket. And the starting is difficult, but I find the weaving, getting it precise and even and even the width of it. Like I have to take it out because the one I started is—I went too thick too soon. But the beauty of it and using the natural materials, there’s something about manipulating that natural material. But what I focus on when I’m working with you, I think this is what they did. They had time to do this, like and it was important because they used—They were functional art. They used the baskets for everyday things. And our culture, we just go and buy what we need. We didn’t have to worry about sitting and making something that could hold berries or hold whatever it was you were going to gather. It’s fascinating to me to be able to learn to do that. Because you can buy a kit and do a little basket online, you know, buy a kit online and do a basket. But to do it from the natural materials—Because you have permission to go and gather that material, the real thing, authentic. I guess that’s what it is. It’s the authenticity of it. That’s what’s so wonderful about it. DC: On some of the bigger picture here, what do you think some of your greatest accomplishments are, you know, up to this point in your life? What do you feel? LK: Uh, it’s hard. You know me, Diania. I’m not (unintelligible word). DC: I doubt, I mean, you know—when you think about your greatest accomplishments, you lost one. LK: Well, my two sons, absolutely. My two grandchildren. I have two step grandsons now too . My son is remarried. I’m really proud of all of them. They’ve come so far. But in my working world, I think some of my greatest accomplishments were getting Teacher of the Year three times and being runner up for county Teacher of the Year. I came in second or something like that. That was very—I was really honored by that. And so, I’ve gotten a lot of awards for teaching. And so, I’m proud of that. What I’m learning to become proud of is my own artwork, believe it or not. I’m not one to brag or toot my own horn but I am progressing, and I am getting much more confident about creating my own art. DC: But do you have any plans still for your life, you know, in the future? I mean, you’ve gotten your business . Now you’re doing this. Do you see the plans, how it’s going to go into the future? I mean, how’s it going to broaden for you in helping you within in your, you know, I’d call it your second career, your third career. How do you feel about that in your life? LK: What are my hopes for that? What do I hope to achieve? DC: Mm-hmm. LK: Long range goal, I would love to create a website and be able to market things that I create like the curriculum. I would love to market the Mel and the Blue Arrow curriculum because I think it’s really good and solid. And I would love for teachers throughout the county to be able to use it, particularly in North County where the Luiseños—this is the traditional land—because that will further the education of the people that live here, of the people that were here prior to us. And learning how they lived and honoring them as a people instead of somebody that we just kind of pushed out of the way is what I feel like we did with the indigenous people. And then, possibly, I’m writing another book. It’s called The Adventure of Big Pig. It’s about a guinea pig and that’s in honor of my sister who is suffering from a fatal illness. And I hope to get that done before—And even if I have to self-publish that as well, I will, just so she can have that. And I’m really close with her. She lives in Colorado. So, this is a difficult time. But that’s in honor of her. So, things like that. I hope to further writing. I write an article a month for Indian Voices, thanks to your brother Mel. (Diania chuckles) And that’s been challenging but also uniquely fun. It’s fun on a different level. DC: What do you think—Not to wrap it up or anything but is there any regrets within your life or you could have changed something differently at any point, you know, in your life? I, you know, I don’t like asking that question, personally, because I don’t think people should have regrets. But some people can look at life differently, you know. And it’s hindsight, but you can’t change anything. But is there anything that you would probably feel that could have been better or you could have did something differently? LK: I don’t look at it as regrets. I look at the past mistakes that I made. I would have made—There are different things. I would have made different choices. But what I’ve learned, by the age of 69, is all of those mistakes and all of the experiences you go through is what brings you to where you are right now. And had you not gone through those trials and tribulations and the mistakes, you would be different. I would be different. So, I have a different philosophy about it now. I just think everything we go through in life is going to take us to a different place and change us in a way that we need to change. And I also have learned through yoga and meditation to be grateful for even the bad things because it’s an opportunity to learn and it’s an opportunity for growth. And that’s kind of how I view things, and I wake up feeling grateful and I go to sleep feeling grateful. And I think that’s a gift we give ourselves because when you’re grateful, you can go out in the world and share that gift with others. And so, I try to practice that daily. So, yes, mistakes, but we all make them. We’re only human. (Diania chuckles) What do you expect from us? (Both laugh) DC: Is there anything that you want to let the people know that, you know, when they do view this recording and you’re going to be put in an archive. And if a student comes by or another person comes by and wants to know who Linda Kallas was and what she had done, is there anything you want to share with that person or group in this interview right now. You did do a little bit now, but is there anything more you want to say to kind of wrap it up to where you feel why this was important to do? LK: Well, I think one thing would be never, never give up. Never quit on a dream or an aspiration. You’re never too old to try something new. Never. Unless you physically cannot do it, physically. But, you know, to always keep learning in any capacity you can. Pursue interests. Pursue what interests you because there’s so much out there to gain knowledge on. But never give up. Never quit. You can’t quit. I sure wanted to when my son died. But I didn’t and I’m glad I didn’t. And everything I do now is in honor of him and the love for him and the love we shared as mother/son because that does not die. The physical person goes away. But the love you share with another person never dies. DC: Well, thank you, Linda. I really enjoyed doing this and I enjoyed my friendship and everything. I hope it’s going to continue on. And so, we both have grown together and shared some things that I know you didn’t share with, you know. We’ve got De Loos. We’ve got different places I’ve taken you, regarding into the Indian world, or you want to say that on there. But I’m going to wrap it up and say “No $uun Looviq.” LK: No $uun Looviq. DC: No $uun Looviq. LK: Thank you so much, Diania. 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=KallasLinda_CaudellDiania_2022-12-22_access.xml KallasLinda_CaudellDiania_2022-12-22_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 Kallas, Linda. Interview December 22, 2022. Description An account of the resource Oral history interview of Linda Kallas, December 22, 2022. Interview conducted by Diania L. Caudell. Linda Kallas is a retired middle school art and drama teacher who has collaborated with other local artists and authors on a variety of endeavors, including illustrating "Mel and the Blue Arrow" written by Mel Vernon (Luiseño). Kallas and Vernon also collaborated on a Luiseño/English coloring book and on an arts integrated curriculum taught at Pablo Tac Elementary School in Oceanside. Kallas is also on the committee for the Valley Arts Festival that celebrates Luiseño culture each November at Heritage Park, Oceanside. In her interview, Kallas talks to Diania Caudell about topics such as family, school, higher education, post-college life, and her various art and cultural projects. Identifier An unambiguous reference to the resource within a given context SC027-051 Subject The topic of the resource Arts education Basket making California State University San Marcos Death and remembrance Education -- Native Americans Illustration of books Luiseño Indians Pablo Tac Elementary School (Oceanside, Calif.) Valley Arts Festival (Oceanside, Calif.) Women artists Date A point or period of time associated with an event in the lifecycle of the resource 2022-12-22 Format The file format, physical medium, or dimensions of the resource video Creator An entity primarily responsible for making the resource Linda Kallas Contributor An entity responsible for making contributions to the resource Diania Caudell Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oceanside (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. Linda Kallas Art and artists Community history North County Oral History Initiative 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 Judith Downie Interviewee The person(s) being interviewed Rich Link 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=LinkRich_BixbyMarianne_LortonGreg_DownieJudith_2017-07-09.xml OHMS Object Text This field contains the OHMS Index and / or Transcript and is what makes the contents of the OHMS object searchable in Omeka 5.4 Link, Rich, Mary Anne Bixby, and Greg Lorton. Interview July 9, 2017. SC027-054 00:00:00 SC027 California State University San Marcos University Library oral history collection CSUSM csusm Home brewing -- California -- San Diego County Quality Ale and Fermentation Fraternity (San Diego, Calif.) Rich Link Mary Anne Bixby Greg Lorton Judith Downie mp3 1.0:|11(14)|23(17)|36(13)|61(3)|79(10)|91(9)|104(2)|122(2)|136(14)|155(8)|170(5)|191(4)|218(5)|232(15)|246(15)|258(12)|273(2)|286(13)|303(18)|320(9)|334(13)|365(2)|386(5)|399(7)|416(3)|440(12)|464(2)|492(3)|511(16)|543(14)|575(11)|602(6)|626(11)|650(8)|674(4)|697(10)|721(7)|738(7)|762(13)|779(7)|798(6)|814(11)|824(10)|851(13)|877(11)|903(15)|925(6)|943(9)|971(12)|996(8)|1014(12)|1041(7)|1074(4)|1086(12)|1108(15)|1128(4)|1145(2)|1161(14)|1188(2)|1204(14)|1215(16)|1233(10)|1253(8)|1276(16)|1294(4)|1306(7)|1343(10)|1371(5)|1400(17)|1437(2)|1456(3)|1486(11)|1514(10)|1531(4) 0 https://archivesoralhistories.csusm.edu/files/original/be8d74a35bca81c3d4728150a1225ccc.mp3 Other audio English Rich Link, Mary Anne Bixby and Greg Lorton are all early members of Quality Ale and Fermentation Fraternity (QUAFF), a San Diego area homebrewing group.&#13 ; &#13 ; In this interview, Link, Bixby, and Lorton discuss their introduction to craft beer, early home brewing experiences, QUAFF, various local breweries, mead, and womens’ participation in homebrewing. None have worked in the industry professionally, but all are certified beer judges and Lorton and Bixby also judge mead competitions.&#13 ; &#13 ; Link wrote for the Celebrator Beer News magazine on the Southern California beer scene and his experiences visiting European breweries. He served several terms as QUAFF President. He is a certified beer judge.&#13 ; &#13 ; Lorton served as QUAFF Newsletter editor and President. (He has provided a separate oral history.)&#13 ; &#13 ; Bixby, with her late husband, Horace, switched from wine making to beer making. She belonged to the SDSS (San Diego Suds Sorority) which was a women-only subgroup of QUAFF.&#13 ; &#13 ; Recording was made on the front exterior patio of Burning Beard Brewery in El Cajon ; there are periods of traffic noise which interfered with recording. Judith Downie: Okay. It's July 9th, 2017. This is Judith Downie interviewer, with Rich Link and Mary Anne Bixby and Greg Lorton, all QUAFF members, former officials of QUAFF, for oral history about their experiences with homebrewing and QUAFF (Quality Ale and Fermentation Fraternity home brewers club.). It should be able to pick up everybody. So basically, you know, you can kind of look at those questions I gave you. You can start talking maybe from, how did you start homebrewing? What got you interested? Rich Link: Well, I liked beer. And I saw something on TV one day and I saw something in a liquor store and it had a recipe and I said, “You can actually make beer at home?” And then I just looked in the yellow pages and there was Wine Art (supply shop) at the time over here on Fletcher Parkway (El Cajon). And, uh, that was in 1980 as I recall it. And at that time, homebrewers essentially made a five-gallon batch with a can of malt and four pounds of corn sugar, holding back a cup of corn sugar for bottling. For the bottling. And it was okay. It was as actually better than, you know, the mass-produced beers here in the United States ‘cause you know, we just couldn't take that stuff anymore. 90% of what I would drink would come from England and Germany. And at that time those were really good beers. Downie: And where were you finding these beers? Link: Yeah, in liquor stores. Yeah. Like that time, I think we had like Liquor Barn and some of the little hole-in-the-walls would have some good imports, but you know, it was like some beers were like $10, $12 a six pack and that was pretty expensive. You could make about two and a half cases of beer for about $10 or $15., seems like. Yeah. You know, I remember my first batch very, very clearly. It was a Pale Ale and it got all funked up with the yeast and it was cidery and it's like, “Okay, but you know, there's still something behind there that tastes really good.” It actually had good malt flavor and some hop flavor. Had no idea what the hops were because we just bought a bag that said ‘boiling hops’ and another one that said ‘finishing hops’. (Laughter.) Greg Lorton: But you made it. Link: Yeah. And it was cool. And I remember when the fermentation took off and you'd see the head on the beer. It's like, “Wow, that's pretty cool.” Smelled amazing. Bottling sure was a pain in the butt. Mary Anne Bixby: It always is. Lorton: Yeah. That's the one thing that pushes me towards Rich and uh, yeah. Mary Anne, what about you and Bix (Horace Bixby)? Bixby: Well, my first experience with home brewed beer was in college and it wasn't my own, it was friends' and the guys had made this beer that they had in mason jars. It was all cloudy. so, it was very yeasty. That part I remember very well and it was awful. It was awful. I think all I could say was give me a glass of wine. Lorton: Were you a, you were a chemistry major? Bixby: At one time. Lorton: Okay. At Purdue? Bixby: At Purdue. Lorton: Okay. Bixby: But, when I got married, we were winemakers and we started out with Wine Art in Chicago and they had these plans where you could make four wines and they had the classes and… Wine Art at that time was, like early seventies, not into beer that much. They had some cans of malt on the shelf, but nowhere near what we have available now with yeasts and the hops and so on. So Bix and I were making wine and he did try beer once but it started exploding in the basement. So I think we dumped most of it out. Link: I can’t tell you how many times I've heard that story about exploding beers. “Oh yeah. My uncle used to make beer. It used to explode.” Man, I never had one explode. Lorton: Yeah, I would wake up in the morning, go out in the garage and “Hmm. Smells like malt.” Bixby: Oh oh. Lorton: You look at the shelf and there's stuff dripping down, a wet spot with bottles there and there's one bottle that looks a little shorter than the others. And yeah, it blew apart and the top sank down. Yeah, I had. And it wasn't until, you know, I never had that with an extract brew. But once I started all grain brewing… Lorton: I never had a bad extract brew. I never had great extract brew. But once I went to all grain, I had some really good ones. Some pretty bad ones. (Laughter.) So now when was this all this wine making stuff? Bixby: Well, in the 70s and then we moved here to California in ‘75 and we started with the Wine Art again with making wine with their program. And then all this stuff started appearing on the shelves and Bix got interested in the beer, and before you know it, he was making beer and also we joined QUAFF. And that went that direction totally. I think we only made a few wines after that ; it was all beer. Downie: So, my understanding is that Audrey Eckblom and Owen were kind of the nucleus of the startup QUAFF. But I have not been able to reach Audrey and I know she's in Nevada and I tried to call her and I've tried writing her and don't get a response. So, what do you remember about beer in Wine Crafts? I know she took it over when Wine Crafts decided to close the location and she became Beer and Wine Crafts. But you know anything about her history as a brewer or anything like that? Lorton: Yeah, I moved down here in 1988 and I was living in Carlsbad, but that was the only place to go. And they opened a second shop in San Marcos. Probably in the, I'm thinking, uh, mid-nineties… Link: Mid-nineties, something like that, 1995. Lorton: Yeah, it was you know, I can show you exactly where it is in San Marcos. Link: I remember it. Lorton: But I mean that was a lot closer for me. Yeah. It was near Bent Avenue. Bixby: Well before Audrey and Owen had the place, there was, it was owned by somebody named Peter, I think it was Peter, his name. And he I guess got out of the business, I don't know, cause then it was Audrey and Owen and she was pretty, she was really very helpful. Link: She used to make wine. She was actually an employee there. And I remember the girl that was one of the owners, she had an accent. I don't remember her name, but it was shortly after that that they, Owen and Audrey bought the place from her. Now Owen was actually a beer judge. He, he knew beer. Bixby: I didn’t know that. Link: Yeah. Now, I don't know about any accreditation. It certainly wasn't with the AHA (American Homebrewers Association), but, he was labeled a beer judge. So yeah. I was a pretty good beer judge myself from college days. Downie: Well, accreditation would have been maybe a little bit later because it was Carter's era that, even home brewing was legal again. So, you really couldn't probably do accredited judging until, you know, you'd had a few years being legal again. Link: I don't remember when the AHA started, but I think the legalization was in ‘79. Yeah. And that's when the bill by Alan Cranston. Yeah. Downie: He signed it and Carter signed it in ‘78. Link: The US bill started by a Senator in Wisconsin. Downie: And then everything winds up having to come down to state level and then county level and city level. Lorton: But California was at the forefront of that kind of stuff. So. Yeah. Downie: And so Rich, you were telling Greg that you were the third QUAFF president who was president number one and number two? Link: So, president number one was Greg Schwaller and so now I wasn't there. So a lot of what I get is from Bob Whritner. Lorton: And I have an email from Greg Schwaller going the fact that your part of that where he was, you know, kind of you're remembering what the original, he was the one who came up with the name of QUAFF. Bixby: Interesting. Lorton: And he was citing a verse from Poe, Edgar Allen Poe as the source. And what they were doing is they were thinking, you know, all, most homebrew clubs have some clever pun-related acronym. And, you know, they felt that, well, QUAFF is, let's think of something that QUAFF sounds like a beer-drinking term. So, let's come up with some words that fit that. So that's where Quality Ale Fermentation Fraternity came from. Unfortunately, Bob gave me some stuff that documented all of that. It was like the originals. I gave it to Peter (Zien) and I'm not sure if it still exists. I meant to ask Peter when I last saw him, but you know, it actually has the legal yellow pad where it has the names of the… Downie: Is this is Peter Zien? Bixby: Oh, you need to ask him. Lorton: Yeah. I have to ask Peter. Yeah. Peter Zien, (several people talking) you know, I meant to ask him. Judith and I talked with Peter a couple of weeks ago and I forgot then I (inaudible). Peter's birthday party, I forgot. Link: That was a busy day. Lorton: Yeah. And I'm hoping they still have it. Downie: Yeah, I've still got the oral history to arrange with Peter and Vicky, so I'll put that on my list to ask as well. Lorton: Yeah, I guess Greg Schwaller now, lives, I think at Three Rivers, which is near Sequoia. At least that was where he was I think 2010 or so. Link: Okay. Bixby: Gosh, that's a long time ago, yeah. Link: I thought Bob, last I talked with Bob, he thought he was up Montana or Wyoming or something like that, but who knows. Lorton: Yeah, I can send you the email that has that. Downie: That would be lovely, yeah, that'd be a real touchstone for QUAFF’s history. Lorton: It would because I, I never met him…met Greg. Bob is, Rich and Bob or someone Bixby: Who was after you? Link: After me? Skip (Virgilio). Lorton: Who was before you? Link: Paul Wesley (second QUAFF president). So I remember when QUAFF was starting because Owen tried to get me to go to the meetings. At that time, I wasn't really interested in, it wasn't all that interested in joining or being part of things. So… Bixby: A loner type, huh. Link: Well yeah. But I do remember him telling me, you know, we're having a meeting down at, it was Old Columbia (Karl Strauss brewery). That's what everyone called it back then. And it was before Chris (Cramer) really wanted to stress the Karl Strauss part of it. And then I still didn't want to go. I mean, their beer wasn't all that great. Why would I want to go all the way downtown? Downie: How much was gas a gallon then? Link: Yeah, yeah, 30 cents. But then, you know, like I said, Paul Wesley followed Greg. And Paul lived out here in Lakeside, and then Owen and Audrey kept working on me and working on me. And then finally they convinced me to go to a meeting at Callahan's (Pub &amp ; Brewery). At the original Callahan's, this was in 1990. Bixby: That's your first time you went? Link: Uh-huh. And, you know, after like two to three meetings, you know, Paul pretty much recruited me to take over. In those days you needed someone, you know. And so, he kind of felt that I was trustworthy and knew some things. But the club at that time was, I mean we had it from, most of the guys were, like I talked about earlier, the extract corn sugar brewers who are really interested in making liquid alcohol for as cheap as they could make it. Link: And cheap was like the number one priority, truly. And I'm not trying to just make fun of these guys, but that was it. Yeah. They can make 10 cent pints of beer, man, they were in heaven. But we also had guys like Vinnie Cilurzo, and John Thomas and Bob Whritner and Greg Schwaller, some of the guys who really knew what they were doing, you know. So that was pretty cool. And we'd have a little corner and bring in beers and taste them and give remarks and stuff. And that was all pretty cool. But there was a great deal of the club at the time that was not interested in going beyond, you know, the kit type mentality. And I was. In fact most of the guys had never even heard of the AHA. That was kind of my goal is get involved with the AHA more. Link: And that was when we had our first club-only competition and it was a pale ale and Whritner, Bob Whritner, was our representative and he got a second place on the national level in that competition. That kind of lit everyone up cause “Look, we do make good beer and we can get some recognition, let's go for it.” And things got pretty exciting at that time and, beer kinda got better. And you know, we had recently come across liquid yeast, you know, a couple of years earlier, it seemed like it was ’87, ‘86, something like that. So beer was getting much better and a lot more fun to brew. I remember making great wort, just absolutely great man, this is the best beer I've ever made. And then throwing in the packet of yeast and when it comes out and like crap. It's just very disappointing. And then Wyeast (yeast laboratory) was the first pack of liquid yeast I remember. In smack packs. Lorton: Is Bob still around here? Are you still in contact with him? Link: A little bit here and there. They spend, I'd say 90% of their time up in June Lake, but they do have the place in Rancho Bernardo. Lorton: Yeah, I mean Bob would be a good guy to talk to you. I mean, he's really a colorful guy. I think he's an ice scientist or something like that who would go on cruises to research the Arctic. And alcohol is not permitted on a ship, but you've got a bunch of scientists who are really creative, so yeah. Bixby: Better than prison brew. Lorton: Yeah. He would tell me about the breweries or the places to get beer in Tromsø, Norway. You know, some of the story, and Bob is such a funny guy. Somebody was talking about Bob at Peter's party too, it may have been you. Link: Yeah, it was probably me. We had dinner with them and Skip and Mary last summer. Okay. About a year ago. Yeah, he's 80 years old now. He's getting along a little slower as people do. Yeah. Downie: Honestly, you can remember, remember what happened. That's it sounds like he's probably, yeah. So he's definitely on my list of people to approach. Mary Anne. When did you join QUAFF, you and Bix? Bixby: I think it was like ‘92 or so but I remember going to meetings at La Jolla Brewing on Fay Street. (Avenue, La Jolla) Link: Yeah, we moved there. Because Callahan's was too slow, too small. Bixby: So you went from Callahan’s to La Jolla and then back to Callahan’s. Link: Yeah. And then the PB (Pacific Beach) Brewhouse. Lorton: I remember my first meeting was at PB Brewhouse, but it was there because Skip was the brewer there and he was doing a tour. And that was probably May or June of ‘94 because I was lucky enough to win best in show for the AFC (America’s Finest City home brewers competition). And so they said, yeah, why don't you come to a meeting? But I think the normal meeting place at that point was La Jolla Brewing on Fay Street. Yeah. Bixby: That's where I first started. Yeah. That little back room. Isn't that where you gave your slide presentation on? Link: No, the slide was at the expanded Callahan's. Well, when we first started at Callahan's, it was just that one room and we couldn't close it off to the public, you know, so we'd have our meeting and the public and it was not, just not. Downie: Not when you are passing out beer. Link: Well, and the club started to grow. I mean we would have, you know, a lot of nights we'd have 15 or 20 people, but then there was one year at the Del Mar Fair where it got a lot of visibility and the next meeting there was like 40 people and it was like standing room only. It's like, wow, we can't do this anymore. And, and, and La Jolla Brewing Company was just opening and they had a nice big back room. It's like October of 1990. And, so then we moved there. They only lasted a year, a year and a half. And Callahan's had expanded so they had a room that they could close off for us. So that was nice. So we went back there and then, then PB Brew House had, but we actually met in the brewery as I recall it. Didn't we? Lorton: I remember Skip. That first meeting, that was the only QUAFF meeting that I went to that was PB Brew House. But Skip had a tour. Link: They weren't there very long. Lorton: No. And Skip was, he was the president at the time and you know, showing how everything was done. That's the only, only time. And again, that was May or June of 1994. Bixby: Was Dion (Hollenbeck) after Skip then? Link: Yes. Lorton: I think Ted Newcomb. Link: Oh, Ted. Bixby: Oh, Ted. And then Skip then Dion? Lorton: Yeah. And then Todd. Link: I think Ted was a one year. Lorton: Yeah, I've got a list of who is president after from Skip on. So, when I get home I'm now going to pull it out (inaudible). Downie: Wow. Yeah. That's so great. At what point would you say QUAFF actually formalized, ‘cause you said you were kind of recruited into the presidency and it sounds like maybe you kind of recruited Skip to be your relief at some point. Link: It’s kind of still that way. (Laughter) Bixby: Are we really formalized? Link: What does that mean? Downie: Bylaws… Lorton: You know, Rich will go to the restroom. Okay quick. Let's decide on president. Rich. Oh, it's unanimous. Come back from the restroom. “Hey Rich, congratulations you’re president.” Downie: The moral there is don't leave the room. Lorton: Yeah. You know when I became president and Peter was the president, it was Todd Fitzsimmons then Peter and then me. But it was always the case as well. You know, Peter's kind of taking over the stuff that Todd was doing. So Peter is kind of a natural guy for that and I think I kind of fell into the same thing. And Harold Gulbransen was after me and so he got in there and then Bob McKay. Bixby: My impression has always been, the president has always fallen into that position. It's like, man… Link: I think there was one year. Bixby: Willing to do the job to, to pick up, you know, to take up the reins and go for it. And, and we've been very, very fortunate in my tenure. I mean, I mean my time with QUAFF to have some really good people dedicated. Link: But there was one year where we had a vote at a club vote. Bixby: Oh, you remember that, who was this then? Link: Well, I think that was Skip’s second term, but we dodged the bullet. And I think that thought, cause I was, when I handed it off to Skip, you know, we would have essentially closed board meetings and I said “I nominate Skip.” And that was pretty much it. Yeah. Yeah. And then something came up about voting for it, and it was hard to, hard to argue on that point, but we did. But boy, there was something close. I remember that was something that was averted. Link: Yeah, but since then I remember, I think when Todd was president, there was some kind of czar-ish directive. (Laughter) Bixby: Czar-ish, it that what you said? Lorton: Well we, you know, when I was on the board from the time I was the newsletter editor from ‘96 on and ‘til I became president, but it was always a board decision on what the officers were going to be rather than, and we would put it up to the meeting if, you know, the board has decided that this should be the slate of officers. Does anybody have any objection or, you know, I think, I can't recall if we actually said all those in favor, say aye and everybody would go “Give me another beer, aye.” You know? Downie: Then everybody had an opportunity to say something, so it wasn't completely closed or anything. Lorton: Well, and the other thing is that the people who were really interested in how the club was running were the board members. Bixby: That's true. Yeah. No, that's a good statement. Yeah. Downie: A process of natural selection. Bixby: Yes, and those who are actually doing most of the work. Lorton: I think that’s the way it continues now. Bixby: Yes, and we've tried to get more newer board members, we want QUAFF to continue. Downie: Right. Bixby: And we've been throwing it out there over and over, you know, but people are reluctant to, they have their own lives. This is not, you know, like any group. It's a volunteer kind of position. So try to get some of these young people, we have, we have several very great new ideas and so on. I love that part. I just want it to continue. I love QUAFF so much. Lorton: You know, you haven't been a one of the senior officers. Bixby: Never, not yet. Link: (Showing photograph) So that was the original room at Callahan. Downie: That's wonderful. Bixby: Can I see that? Lorton: I’ve got to see that too. Link: And then they added on that section right there where they could actually rope it off. Lorton: Yeah, I remember we had one meeting. There was a point at which we were kind of, we kind of hit a minimum and I remember Harold Gulbransen was giving a talk and it was in October and he was competing with the World Series which was on the TV screen behind him. Bixby: Which was hard for him as one eye was probably on the Series and one eye on the…That’s really great. You have a date on the back too? Lorton: This guy is much more… Link: I would say this is probably about 92-ish. This is not like the photos when we were kids that had the date on the back or on the margins. Downie: Well of course I am trying to work with Lee (Doxtader) at Callahan’s and he can probably give me some dates. I would hope he would remember QUAFF’s presence. Bixby: Was Lee around that long ago? Oh my, (another photograph) well that's… Downie: Chris with Karl Strauss. Bixby: Yeah. Yeah. I remember one of those is a beer dinners they had. I actually sat at the table with Karl and his wife. It was kind of fun. Bixby: I think they still have the same chef. Link: You know, I think so. Bixby: Gunther. Downie: You even remember his name. Bixby: Good food! Link: I knew I had a picture. Bixby: Yeah. That's great. Downie: So. the pictures are wonderful. I mean that would be something that I would be interested in digitizing, giving you copies of the digital files. Link: Most of those are pre-digital, so they're just going to be… Downie: Negatives floating around, if you still have the negatives. Link: They’re somewhere. Yeah, it's tough. Downie: It is. I'm going through my parents’ things and my mother was, you know, a historian at heart and I actually, when I was emptying out the house, I found up on the very highest shelf in the entry hall closet, so, of course that's where the heat all rises. Six eight-millimeter films, pre-sound. My parents' wedding day. My cousins, there's actually some of me, I took them to ScanDiego and they were able to salvage pretty much everything and digitize them. So, I have to give my family, you know, pictures, you know, the films on a DVD and say, here you go. And if anybody, I filled in what I knew what I could recognize and some of them I had to kind of guesstimate the date saying, well, okay, I'm in there. So, I know that had to be this year, but I'm not in that one and this cousin looks younger, so it was probably a couple of years earlier. And I've asked the family, of course, you know, probably none of them have actually stopped and taken the time to look at the DVDs. If I put them online like in Dropbox and link them and said, here, go look at these and you know, give me some feedback. They'd probably do that. But you know, a lot of people don't have DVD players even anymore. Link: DVD? Downie: Yeah, I do have the online digital files. Link: That’s our media now. Downie: Yeah, for me. I've got DVD player and stuff. Bixby: (to Lorton) Which one did you get? Lorton: Get Thee to a Nunnery. (beer name) Bixby: I’m telling you, that is going to be one of my new favorites. Link: Did you try the English (inaudible)? Lorton: Oh, the Banksy? Link: No, the (inaudible). Lorton: No I didn’t. Link: What was it, something about all night or midnight or something. Down Through the Night? Bixby: We'll wait for you if you go get a beer. Loron: I'm just going to say… Link: Well now you can talk about me… Lorton: Let me check on my record to see if I... Link: Quite frankly, there were a lot of QUAFF members at that time that didn't like what I was doing and they stopped coming. But I think it was the right thing to do to make QUAFF more.... Bixby: What years were you in? Link: I was president in 1990. So for two years. Lorton: Yeah. I had the same experience. Bixby: I must have this come in on the end of you. I don't remember being displeased. Link: Well, I think people like us, we're happy with the direction it’s going. But the guys that were making the 10 cent pints, were not. Bixby: Oh, there is a different mentality. When you talk to people across the, yeah, it's a different mentality. Lorton: I mean there was a group, they were complaining, “Oh, you guys are too focused on competition.” Bixby: But it was, I never thought it was, so much as focus on competitions is focusing on bettering your craft is what it was. And so the competitions were feedback. I always looked at it in a totally different way. Lorton: Well, it depends on your perspective ‘cause I agree totally with you. Link: But, there were a lot of members even after the exodus in my period, there were still a lot of members thought we were too fixated on competitions. And I would just tell them don't worry about it. Yeah. Downie: You don't have to participate. It can be a goal for some. Bixby: Yeah, yeah. Link: Just learn from it. Come and enjoy it. What did you want? Bixby: Another Nun. Lorton: Let me know what that British beer was Rich that you said if I had… Link: Oh, it’s Down through the Night, a British Strong. Lorton: Oh okay, now I haven’t had that. Bixby: You know, I live so close, I should have had everything here. Lorton: You know, getting drunk has no appeal to me. Bixby: No, no, no, no, no. You know, that's not the point. Lorton: I know a lot of people who, “Oh yeah,” like get, well, I mean, but I'm not one of them. Bixby: You get drunk, you can't taste another good beer. Lorton: Yeah, I get headaches the next morning. You know, if it's too much, the bed starts spinning around. Bixby: It’s been a long time since that happened. Lorton: I was just going to say, that's when I was a wine person. Downie: So, Mary Anne, tell me about Mead Day and the celebration at your house. Bixby: You know I cannot remember the first time I did it. You’re kind of, like have some trust you know, in your reminisces. Lorton: The unfortunate thing is a lot of my memory is actually in the newsletters that I did. And I don't know if my newsletters predate mead day and I'm trying to remember where else we were. I told Judith that Frank Golbeck came to one of our mead days a few years ago. Bixby: But I'd had them before Frank came along. Lorton: They were quite, I don't know how, I don't remember. It just seems like a long time we have done this. And it's the national mead day, which is the first Saturday in August, which is kind of hot in El Cajon usually, which is an understatement. But sometimes it rained a couple times, but other than that… Lorton: I told her about Death Mead Day. Downie: Yeah. I heard about the Death Mead and anything called Death Mead Day is definitely a must attend. Lorton: What kind of alcoholic beverage do you want to not drink a whole lot of when its hot? Bixby: I know it. (Laughter) Link: At least it’s not Imperial Stout Day. Lorton: It’s stronger than Imperial Stout. Bixby: It's been fun over the years. And, we had one guy who was, owned the Downtown Johnny Brown's, for a while and he made mead cocktails and brought them to Mead Day. So even that was fun. We has meads from all over the place. Lorton: Yeah, we started Mead Day probably when AHA started recognizing it (in 2002). It wouldn’t surprise me because we were into meads back in the early 2000s, late 1990s. Bixby: I should check on the original when AHA started that cause they used to have an official recipe. So, it was like, okay, my garage wasn't so full at the time. So we used to make mead in the garage, which kept all the mess and the stickiness right there. And the, and I would… Lorton: The bees. Bixby: …clean out. Well we did have that. Lorton: When you make mead, if you do it outside, you get bees. Bixby: Oh yeah. Downie: There's a cautionary tale. Link: You come in the garage, you get, come on, really? Get outta here. Lorton: Yeah, they like honey. Bixby: But there was an official recipe and I tried to encourage people, you know, this is the official recipe we're going to do. And since I was hosting it hard for me to make it, but I'm trying to get other people to do it and we, we had some pretty good meads. Lorton: Yeah. Well, there's always… Bixby: Hot or not. I mean it was never blasting. Lorton: Yeah. There's always, always more meads. You end up with a whole bunch leftover when we’re done. Bixby: Yeah, because I tried to collect not just the ones on my travels, but some of the competition meads, even the ones where when we had the homebrew competitions. Then they were like unknown cause I never got the printout to say number whatever is such and such. So we just opened them. I still have a few for this year from last year’s competitions. Lorton: Yeah. So, you know, if we have a, if there's a competition, you know, the idea is submit two bottles. If yours is the best in your category and there's three to five categories, then that best in that category will go on and compete for the best of show. But everything else is just a second bottle, looking for a home. Bixby: (Inaudible) was my home for a long time. Downie: There's the advantage to having it at your house. Bixby: Well I didn't drink them, I saved them so we could share. Cause you never, you didn't know what they were. Lorton: At your house. It was better than being at my house. Bixby: Oh maybe so. Lorton: But yeah. And it was good because I think at the time, and we’re still doing this. There are quite a few people who are interested in being mead judges and it's good to look at “Well, this mead isn't quite so good for this reason. It's too hot and too, you know, too alcoholic” Bixby: Or no flavor. Lorton: Yeah. Things like that. So, but yeah, you know, I'm trying to remember if it was at someplace besides your place when we first got started. Bixby: I don't know. I can't remember that. That's too far off. But I know I did it because Bix was into making beer and mead making was similar to wine making. So, it interested me. And so, I started making mead. Link: With your daughter? Bixby: You know, actually I, I know I did it before, but the only mead my daughter and I ever made was in 2000 there's one bottle left. I have no idea how it tastes. I hate to open it without her. If she could ever come to Mead Day, I would open it. But she helped formulate the recipe. Downie: So good. Rich, have you ever done mead or cider? Link: Yeah, I did a few. It wasn't something that I really wanted to do much of because I didn't drink a lot of mead. It was tough for me to, it was just tough to drink that much mead. Yeah. Bixby: Are you a wine maker? I mean a wine drinker at all? You are? Link: Yeah. Bixby: You are. Lorton: I am not. Link: It is a lot easier for me to drink a bottle of wine than it was for mead. Mead was just too much. Lorton: Yeah. I'm kind of the same way. You know, I go through periods when, “Oh, that mead really tastes good. I need to make some.” And then I, you know, I've made a whole bunch and okay and I've got to get rid of these bottles, you know, and… Bixby: No, I agree. When your palate has tasted so many things, I've gone through stages too. So you know, maybe I'm into a hop mood and maybe I'm not, you know, or something like that. Lorton: Well, and for me, I have a beer with dinner and there aren't many foods that don't go well with beer, but there are a lot of foods that don't go well with wine or mead. Bixby: That's interesting. Cause I remember when all this pairing stuff, remember when they were into the pairing and the food and the beer dinners and so on. And that was one of the things I heard right from the beginning. The guys, the chefs, saying not the drinkers, but the chefs would say, yeah, they had an easier time with the beer. Lorton: Yeah. What kind of wine or me goes best with a hamburger or what kind of pizza goes best with wine? Downie: Well, I have to say when I was in the Craft Beer Expo last September and did the chocolate and beer pairing with Bill Sysak. Saturday morning at 9:00 AM, I'm sitting there with chocolate and beer in front of me going, “This is something real wrong, cause I'm not that big a beer drinker.” But Bill made the argument that the carbonation in beer actually because it cuts through the fatty of the foods, makes for a better drink with any food. Link: That’s why it’s so much better with cheese than wine is, you know, the whole wine thing is wine and cheese. Well no, it doesn't work as well as beer. Downie: And with wine, until you get into this whole, you've got red, you've got white, you've got these very distinct strong categories where with beer there seems to be a, because of the hops and things, there seem to be a more consistent thread through it. So, it just seems to be more all-purpose maybe, I am not explaining it very well. Lorton: Well, I mean there's so many, I mean beer is such a much more diverse than wine. Link: I've had arguments with wine makers about that. Oh you know, wine does this. So there's so many variations. And I said, okay, let's just talk about beer, the different kinds of malts, the different kinds of hop, different kinds of yeast. It's like infinite. Yeah, it's, it's truly infinite. Wine. Like you said, you got your reds and whites, you got blends and stuff, but they only got about five or six different categories. Really. Bixby: That was fun for me to watch. The homebrewing community really affect what we drink now because the guys had no limits. And so, we had people making beer with Jolly Ranchers or something from the grocery store, cereal bins, or something like that. And then these ideas just kind of, I think progress and what the creativity is, was part of the whole thing. That's what I love. And then of course the gadgetry, I was in love with the gadgetry. Oh my gosh you guys… Link: There were a lot of engineers and scientists that brew. Bixby: It was beautiful. That's what I love. I did love that part. That so much. Lorton: Yeah. And you see that in commercial brewing now. I mean, if you look at the new things that the brewers are making, you know, I went to a golf and beer festival a couple of weeks ago or a couple of months ago, eight breweries where there, you know, Stone, Mother Earth, Mike Hess, Latitude 33, five of those eight had a citrus IPA. You know, three years ago how many citrus IPAs were out there? Ballast Point was there with Grapefruit Sculpin. Latitude 33 had their Blood Orange IPA. Stone had Tangerine IPA, but three years ago, how many citrus IPAs were out there, and then all these new things are coming along. Man, that Blood Orange IPA from Latitude 33 is so good. Went up to Double Peak (Park) a couple of weeks ago and came back to a Japanese restaurant, a sushi bar, and they had, you know, Asahi, Kirin, Sapporo and this “blood orange stuff that we can't get rid of.” “Oh, I'll take that one. Is that from Latitude 33?” “I don't know I’ll check. Yes, it's from Latitude 33.” Bixby:Interesting. Downie: Interesting that they wouldn't. Of course when somebody goes to a sushi restaurant, they probably want to drink culturally appropriate beer. Lorton: This was in San Marcos, not far from where, you know, Homebrew Mart, whatever, Beer and Wine Crafts was located. Bixby: It’s San Diego County after all. Lorton: Oh man, it went so well, I had tempura so… Link: Are you grasping the hops nowadays? I ‘cause we used to have… Lorton: Yeah. Link: You know, arguments. I really mean ‘cause I would hop my beers. Bixby: You two would? Link: Well exceedingly hoppy and you know, and it was way too hoppy for Greg. Lorton: I would like a beer with a little bit of diacetyl in it. Link and Bixby: Oh no! Lorton: A little bit is a lot. This guy, if you open a beer with that in it in the room… Bixby: He said it a long time ago and it sticks in my mind. Link: I'm across the room going alright, who opened that up? Get that outta here! Lorton: Yeah, you and Skip. Well I normally like Belgian beers. I like non-hoppy beers, but if I'm going to have a pizza, it's got to be an IPA. you know, I really like a hoppy beer with pizza or hot chili. Downie: Spicy. Lorton: Yeah. Yeah. I haven't found a wine yet that goes well with those, but, and I haven't looked real hard either. But you know, for a beer like for a food like pizza or chili and I really kinda want a hoppy beer. Link: Chiantis, the Sangiovese with Pizza Hut. (Laughter) Bixby: There you go. Lorton: Oh man. Your masculinity is just gone into that. (Laughter) Yeah. I stopped being a wine person as soon as I discovered homebrewing. I haven't had a wine in at least a year. Bixby: Oh, I’m afraid I am an all-purpose drinker. Downie: Since you have made wine… Bixby: It depends on it, whatever my mood is. Sometimes I am in the mood for hops… Link: I don't discriminate against any alcohol. Bixby: Nor do I. Lorton: I don't have any wine in my house. Bixby: A good single malt scotch sometimes that’s what you want. Lorton: I’ve got a bottle of Laphroaig and Balmore in my refrigerator. I like them cool. But, uh, no wine. Bixby: Oh dear. Link: So where did we leave off on the QUAFF? Downie: My questions were fairly generic here, so I'm just kind of looking. You've talked about the growth of the membership, which I think really says something. I do have other QUAFF past-presidents like Peter Zien to talk to yet, but it sounds like you are still members of a very strong supportive community and you know, you're very open minded too, except for that one thing that you've talked about that you could smell it across the room. It sounds like you're a super smeller. Lorton: Diacetyl, it’s butter, it’s buttery aroma. Downie: Okay. Lorton: Really good. Bixby:For me, it’s skunky. I’ll get the skunkiness out of anything, I hate it. Link: Great on popcorn. Not so good in beer. Lorton: But I mean Rich is one of these people that is, yeah… Bixby: You know the thing you said about supportive, I think the key that I've always found with QUAFF. Supportive, not just in the, oh, who needs help brewing, but just in other ways too. When my husband died, I knew if I needed something…I'm usually, I'm a loner and I'll do it myself kind of thing. But I knew if I really needed something, I could call on somebody and I had many offers. So, I think that's, that's what it became, well, I mean, I said it in Sheldon’s (Kaplan) movie (SUDS County, USA). QUAFF to me was always a family, like a second family. Lorton: I, then one thing that Rich brings is, I mean you've been all over the world tasting beer and you know, you can talk about places in Brussels to go if you want a good beer. Places, you know… Bixby: The knowledge you mean? Lorton: Yeah. Just, well experiencing those beers at the source. You know, for me, my favorite beer city is Bamberg, Germany. Bixby: You like those malt beers. Lorton: I like it. You know, the majority of the breweries there don't make smoked beers, but you know, they all make good beer and but yeah, I do love the smoked beer. I mean almost as much as buttery beer. Downie: Where do you stand on smoked beer Rich? Link: I like it. Okay. Oh yeah. You do have common ground there somewhere. Lorton: Oh yeah, yeah, yeah. Link: I mean there isn't a beer style that I hate unless they put cucumber in it. (Laughter) Bixby: I might have to agree with you on that. Like cucumber water. Link: I haven't figured that one out yet. Downie: That does sound like it would be a mistake. Link: Yeah. But I see it on the shelves now. Bixby: Oh dear. Oh you do? Link: Yeah. Not kidding. Lorton: I'm trying to remember if at that beer festival I had one with cucumber in it. In the competitions, I usually like to judge what we call weird beers, which is fruit beers, spice or vegetable beers, specialty. And occasionally you run into a cucumber. But I've had some cucumber beers lately. They weren't bad, but cucumber is not my favorite. I guess that's a vegetable I don’t know and uh, yeah, it's not, I've never made one with cucumber in it. Bixby: I like cucumbers but not in water and probably would not like it in beer. Link: People like it. And that's fine. Bixby: I’ve had asparagus beer that I thought was… Link: WOW. wow. Bixby: No, I know when I saw it the guys were saying this is at GABF and so, ”You have to try this, you have to try that.” Oh, okay. And then it was done perfectly. It's like how do you get asparagus in a beer and not have it like be yucky or something? Although it did have the same effect after the fact, as eating asparagus, unfortunately. (laughter) Lorton: Thank you. TMI. I’ve never had an asparagus beer. Or spinach Bixby: It’s interesting, the different beers, you know, you run into at GABF (Great American Beer Festival) when you're, when you're working in the back with all the beers. A job. I like. Lorton: Oh wow. Link: I remember an early QUAFF meeting and the guy brought in a beer that he brewed based on some historical reading. He had dug up with bananas. And he brought it up and we're tasting it. I'm going, “Oh my God. You know, I've done everything I can to get banana tastes and flavors out of my beers. Why would you intentionally put it in?” Bixby: That’s really interesting. Link: Historical significance? Okay. Don’t like it. Lorton: I've heard that. Bixby: Not on that Sumerian tablet, I’m sure. Downie: A sacrifice for historical research. Well, there actually is in ancient Greece, if a woman was having trouble nursing a child after birth, there was a recipe involving worms crushed up in beer to correct the situation. Bixby:Oh, that's interesting. They could have minused the worms. I'm sure she would have been happier. Downie: Yeah. Maybe. Maybe the worms were to keep her from drinking too much. I don't know, but… Bixby: Maybe that's a good point. Lorton: You know, probably 15 years ago we were talking about cock ale. Randy Barnes made a beer with chicken in it and it wasn't very good. He said, well, okay, I made the cock ale and Randy, he's the guy who's the vice president of educational services with a community college district. Bixby: He’s the dean or something. Lorton: Yeah, he's the kind of guy who would do it. He's the guy who you'd never expect is a professional, if you ever ran into him. Bixby: That's right. Lorton: If, but I, yeah and he’s really… Bixby: Creative. Lorton: And he's really smart and with a sense of humor that just would never stop. Link: Jim Koch told me about doing that once their little brewery (Sam Adams) back in Boston. A pilot brewery. It wasn't so good. Downie: Yeah, it doesn't… Link: Throwing in chickens into the… Bixby: I can't even, why would you even consider that? Downie: Any meat product does not sound like it would… Link: There is some historical significance about it, which I couldn't even grasp. Lorton: Yeah, I didn't. Yeah, that's a good, I don't know. Link: Cause you know he based a lot of things on historical significance. Lorton: Yeah. Yeah. Bixby: Oh, I am going to have to read up on that now. Chicken and beer and see what I get. Lorton: Cock Ale. Ask Randy. He would probably recall. Bixby: Why he would do, I don't know about the historical, maybe he would. Lorton: Well yeah, I can't remember how we got onto that, but it was enough that it kind of sustained itself for a couple months. Downie: That's something I'm seeing here in your stories is the fact that you're supportive of each other, that you've kept in touch with each other, that you've had fun. Bixby: Oh my gosh. I don't know about these guys, but I had a blast probably, you know, I'm, I married a guy who was kinda quiet, not a social kind of person. In fact, even now when I'm thinking about him after a couple, you know, a year and a half, it's like I look up, you know, Asperger's in adults. I go, that sounds like my man. No, he just was not a social kind of guy, but QUAFF, there was a home for him in QUAFF and everybody seemed to accept him and he felt, you know, quote end quote loved there, whatever you want to call it. That was just the right place to be. I mean, it just, for us as geeky, nerdy, whatever you want to call us, we fit. Lorton: Well, and the other thing is that, you know, one of the reasons I really like making beer as opposed to making wine is that when I was married, I had a brother-in-law who was a real wine snob and he was a spirits snob, and you know, it was, it just grated on me. And you know, beer people aren't like that. Well, you know, most beer people aren't. Bixby: But do you think so? I don't think they are. Link: There are some, but yeah, there's you know… Lorton: There are a few that say, well, I'm not going to drink that. Bixby: Even the women who drink wine a lot, they’ll drink beer now and then. Link: Any, aspect of, like cheese or hamburger, anything. People are purist people. Yeah. Lorton: You have people in QUAFF who will say, “I'm not gonna drink a Ballast Point beer because they're owned by Constellation Brands. Or I'm not going to buy a…”, you know, yeah. Downie: Well, that can go back to when gas hit a dollar a gallon. People saying, “I'm not buying any more gas. Well, I'd like to see you try.” Lorton: That’s the nice thing, in beer is a much more community, you know, it, it's… Bixby: I'm not sure what it is across the country ‘cause I don't know anywhere else, but San Diego and I just feel they've been cooperative and giving. Lorton: I think it’s like that in most places, yeah. Link: Mm-hum. Bixby: I mean, I know when I've traveled all these years with Bix, we always of course, stopped at breweries nearby, right. If not aimed towards them specifically. That if you start talking to the guys, and I always like just sitting at the bar talking to who brews this. And then pretty soon somebody comes out. Oh, let me show you my tanks. And it's usually, like Peter, and like AleSmith started out with dairy tanks or something and I, and I had to weld this and I had to do that and I go, Oh yeah. So that's just a different… Lorton: It's like that all over the country. It, and it was funny because when I was teaching business classes that you'd have marketing people who didn't know beer saying, well, you know, there's not a lot of cooperation among competitors in an industry. And I say, well, you need to look at the brewing industry because you know, like, when there was a hop shortage eight years ago, you know, some brewers were giving hops to others or selling at a low price to allow them to continue. Sam Adams was selling hops, at their, you know, their costs as opposed to what the price was. You know, when there was the hop shortage. Bixby: Oh, cause they had the option. Link: Well, they bought futures, future contracts. Lorton: I mean, look at all the homebrew clubs. I was looking at the names of some of those clubs, like Brewers United for Real Potables in Virginia, the Greater Denver Yeast Infection and you know, Maltose Falcons and, you know, playing on the Maltese Falcon. Bixby: That’s a good one. Lorton: There’s Foam on the Brain here. And you know, QUAFF there, there's so many funny names that Strange Brew in Oregon, you know, and in all kinds, Urban Knaves of Grain, in Chicago. Yeah, I mean there's so many funny names, so. Yeah. And that's because that's how brewers are. They, you know, Hey, you know, this is fun. You know, we're not taking it too seriously. We are, you know, really studying, brewing, but it's for fun, you know. Bixby: Seems you know, that'd be a good lesson all over. Link: I think is just more of a social fun drink than spirits. Lorton: If I'm going to go to a place where I'm going to have a drink with other people and I have to go home, I'm going to have a beer. I'm not going to have a, you know, scotch on the rocks, you know, I'm not gonna to do that, you know? Bixby: Well, there is a group that would do that. You know, what do they think about, you know, my martini for dinner and scotch after or… Lorton: Beer seems like it's a much more sociable drink that let's go have a beer. Bixby: More for the common man and we're all just common man. I don’t know, I don’t know what the deal is. Lorton: You know, maybe a lower alcohol and a… Link: Yes, lower alcohol. You get a pint. You can drink for a half hour or more and still drive home. Lorton: Even if your home is like a mile away or so. Link: Yeah, right up there. Bixby: Mine is max 10 minutes. And that's taking the slow road here. Lorton: Well, yeah, I was gonna say when I went to Mead Day last year, I came here first and then I got on the road and I was driving and some guy’s really slow SUV or something or a Leer truck. Oh, it's Teresa and Rich. Oh, they're going to the same place I’m going. Link: It was after a day at Mead Day we decided to stop here. Yeah. Lorton: Well I did it before, which was probably a little bit of a mistake. Yeah. Downie: Well, one final thing I'd like to ask about…the increase of women in brewing, are you seeing that reflected in the membership in QUAFF? Link: I can't talk to that cause I haven't been to a QUAFF meeting. Bixby: I would, I would say no. I mean I belong to SUDS. Downie: The San Diego sorority. Bixby: Yeah. Yeah. And those women are not involved in commercial brewing. They are, it's not like the Pink Boots, it's more that they want to do their own thing. They know what they're doing and like, they do know what they're doing in spite of what you guys might think, (interjected denials from Link and Lorton) these girls do know what they're doing. In fact, I was, you know, it's really interesting cause when Juli first, Juli Goldenberg, first came up with the idea for this group (San Diego Suds Sorority), she talked at a QUAFF meeting and I said, “Oh shoot, you know, I grew up in the 60s we'd marched for equal rights, we burned our bras, we did all this kind of stuff. And why do we want to separate, you know, why do we want it something separate?” And Harold, I know I mentioned that to Harold, he goes, why don’t you just get involved in that? Why don't you see what they're all about? Cause something, I dunno what it was that he saw. So I thought. Okay. And I went and I was really impressed because they knew what they wanted to do. He knew about brewing, they had been brewing, they just wanted a group that wasn't going to be intimidating. And I went to a talk when we had our last (inaudible) conference here was in 2015 and it was about women. And that whole idea was a panel discussion on, I thought it was absolutely excellent cause there were groups of women from different women's groups across the country talking about that whole idea. And one other woman my age, as she appeared to be, got up and said, “Why do we want to be separated” and I go, “Oh gosh, that's what I voiced.” Bixby: But then the group panel kind of, you know, said because when we do stuff with the guys they want to take over, you know, it's a natural… Link: You’re a minority. It's tougher. Bixby: Thank you very much. Lorton: Well, no, no true. Bixby: In the brewing community. Yes. Not in life. Okay, that's true. So it's like what do we know about the science or the whole art of brewing? And they said this way, you know, we have this, this separateness that we can kind of teach each other and have this open kind of a... And one of the ladies said, “All guys were asking if they could come and join. Yes, you can come and be part of it, but you have to sit over there and be eye candy.” (laughter) Link: And don’t talk. Bixby: Yeah. And if we need something lifted. Downie: I was going to say there might be something of the chivalry aspect where that's big as, you're a little woman and let me help you with that. Bixby: But I thought that was a very interesting topic and it was pertinent too. And I, since I joined the SDSS and have been part of that, I've been totally impressed with the beers that come out of there. And the girls, they're just, they're fun. Lorton: Yeah. Well, if you look at who won this year at (the San Diego) International Beer Festival, I mean Liz Chism is the brewer at Council (Brewing Company). She's the one who made the beer that won. And… Bixby: It's nice that her husband Curtis really makes a point of that is not, he's not intimidated. So for me he has a lot of… Lorton: Well it was a little bit of a mind change too for me that, ‘cause I thought Curtis was the brewer. Bixby: I knew from the beginning. Lorton: He clarified that with me. That Liz is the one who brews, she's the one who makes the recipes. Bixby: So that's very impressive. She's very good at… Lorton: Oh yeah. Yeah. I've judged with both of them and she definitely, I mean it was clear that she really understands. Bixby: I don’t know, I don't see, I mean I don't know what Pink Boots (Society, organization for women and non-binary brewers) says. I know there's women in the industry, but as far as home brewing, I don't see a big enough presence in QUAFF. And I don't know if it's intimidation. I don't think so. I don't, I think it's like what's more important in your life? What's going on? Do you need to… Link: The time that you have available, its pretty easy to go order a beer. Bixby:You know, a guy is going to go out, that's his thing. You know, where a woman might say I got, especially if she has kids and then she's got a job and then she's got a house and I'm sorry guys. But it's still that way you're as the female, you're still the one that, because it's your nest and it's, and that's okay. It's just, you know, when I was growing up it's like gender equality, course, you know, I will always be for financial equality, but you know, these days there is no gender equality. We are different and that's okay. And once we get past that then we can go on. Lorton: Well, you know, before the Industrial Revolution, women were the ones who made beer. You know, that was part… Bixby: That way before, cause you guys were doing the, catching those mammoths and whatever else you guys, you know. Lorton: So you know, that was their job. I think. Yeah, it's unfortunate. I think that, you know, there is this, still you know, homebrewing is still predominantly a male kind of thing. The other thing that I think is surprising, and I didn't realize this until after I'd started all grain brewing is I'm essentially cooking, you know? Yeah. Here I am in the kitchen, slaving over a hot stove. (laughter) I'm cooking. So, yeah. And you know, and I realize, I'm creating recipes thinking, okay... (brief interruption by the server.) Downie: You did want your crowler. Don’t forget. Bixby: Oh that’s right, cause I'm going to the meeting tomorrow. Lorton: Oh, and for Mead Day, I went to a new meadery last week in Vista. Bixby: Which one? Lorton: Twisted Horn. Bixby: I've heard of that. How was it? Lorton: Yeah, they had some good meads. I'm waiting for Billy (Beltz) to open his meadery (Lost Cause Meadery). Bixby: Me too. Lorton: …and he's going to be in Miramar. That's going to be something. Link: What’s the name of it? Lorton: Lost Cause. Link: Isn’t there another meadery just opened there? Lorton: Well, Twisted Horn. Oh, it's Serendipity Cider is there. Bixby: He’s in the same spot is as... Lorton: And I think he's been having some regulatory problems, but there are four meaderies. There's also one called Mediocrity. Bixby: Yeah. And then the Bronto group guys. Lorton: Oh, I haven't heard that one. Bixby: Yeah, they're not making good stuff. Mediocrity is okay. Lorton: I have not tried theirs. Bixby: They're like up in there. They're okay. Link: Are they like mediocre? (laughter) Bixby: I don't know why somebody would choose that name. Lorton: We were talking about how about Black Plague (Brewing Company) as a name for a brewery? Link: Yeah. Bixby: I'm not sure where these guys come up with this stuff, but… Lorton: Well, Twisted Horn is a big Viking thing. And they're in the area with all the Vista breweries. Bixby: Were they on the sweet side or no, is Viking sweet? Lorton: No, they were semi-sweet. But they had, you know, they had like, it was posted Horn Mead and Cider and I only tried the meads but they had probably six meads to choose from. The one I liked the best was a blueberry melomel, but they had various collections. I'll bring some, I'll stop by there and get a small growler to bring by. But yeah, on Lost Cause, I mean when they get situated there's going to be five breweries and meaderies literally across the street (Miralani Drive, San Diego) from each other. Bixby: And sake. Lorton: Okay. Yeah. Cause I mean Two Kids, Align, what’s that, Thunderhawk? And there’s another one, Projector? Bixby: I know. Downie: There's Protector. Link: Protector. That’s the one, they're not a meadery? Lorton: I don't think they are. Bixby: Protector. Now see that's not one I have heard of. I can't keep up. These guys are moving too fast. Lorton: Well yeah, I've got to talk with my son cause my son likes to make mead and… Bixby: Oh, his son made the best. I'm sorry, I'm sorry Greg, but his bouchet was wonderful. Lorton: Bouchet is a mead that's made from caramel from sugar that's been, or honey that's been carmelized. Downie: Ooh. Bixby: And you know I tasted one at Mike Buck’s. Mike Buck made one that was really good too. Lorton: Yeah. I made one. But it was kind of underdone. Bixby: Yeah, your son's was… Lorton: Yeah, he made a good one. It was distinctive. Bixby: I can definitely remember one. Mine just tasted really good at the beginning, getting at all those bubblegum flavors and all that. And then it just dissipated. Okay. That's not non distinct. Lorton: Right. Unfortunately, mine is gone, long gone, so I don't know what… Bixby: Mine's gone too. Lorton: That tastes like. But yeah, that area, that Miralani Drive is… Bixby: I know and it's getting… Link: Oh, they're (Protector Brewery) all organic. Organic. Lorton: Okay. Downie: Yeah. I was just looking at them last night. Bixby: Oh dear. So what’s not organic about honey? Lorton: True. Link: They’re not a meadery, they’re a brewery. Bixby: Oh. Oh. Downie: And probably the biggest challenge is organic hops. Bixby: Oh, that makes sense. So is anybody doing that locally? Organic hops? I mean, how many local hops growers do we have? We have Star B (ranch and hop farm in Ramona, CA)… Lorton: Well, I would guess I met with a guy (Eric March) from Star B one time and we were talking about you know, meads, but you know, it wouldn't surprise me. And there's an article in West Coaster I think this month about Star B also. Bixby: Is there? Lorton: Yeah. Get the West Coaster here. Bixby: Is it in there? Lorton: Yeah. Okay. But yeah, you know, I think one of the interesting things is, you know, looking at businesses and that's one thing that I've been trying to study a lot is you know, what's the factors lead to success in business. And you know, we see that, okay, apparently Lightning (Brewery, Poway CA) is selling all their stuff. Bixby: Yeah. I don't know what, Jim (Crute), I think is too academic or… Lorton: No marketing at all. Bixby: Yeah. I think, I mean, he was a great brewer and all that and I loved it. He was a great guy. Lorton: But did you see Intergalactic (Brewing Company) is looking at maybe getting it, you need to get the West Coaster (San Diego brewing magazine, defunct). Downie: And the Intergalactic website is saying that they are definitely taking a different direction, whether it's to close or… Bixby: No kidding. Lorton: There's an article on it. Link: I heard that last Friday Lorton: And you know, I think the way to go in the future is just do it small. You know, don't they expect to conquer the world? Bixby: You mean don't start thinking Ballast Point billion dollars-ish. I think that's going to do you in, ‘cause we are San Diego and you would like some of our local, um… Lorton: There's also an interview with Jim Crute in that and he says if he was ever to get back in the business it would be as a nanobrewery making a small amount of beer for a localized customer base. Bixby: Like, like local English pub kind of thing made locally. Link: Like this here (Burning Beard Brewery). Bixby: Oh well like, yeah, they don't want to screw this up because this is too close to my house. And I know it's a bit like, I don't even have to go to Santee. I'm right here. Lorton: Like I was telling Judith that El Cajon was pretty much a beer desert. Bixby: Oh, you don't even go there. I know how many times I was like, “Oh, the Bostonia Ballroom (El Cajon, CA), that huge building there. I thought that's a great place for some fun.” Well, no, now I don't know what they're doing over there. Link: Yeah, that area is… Bixby: Don't say that. There's where I live. I don't know what's going on in that area. Link: It’s a commercial area. Bixby: I mean, I don't know what's happening with El Cajon in general. Lorton: It’s a great place to visit, but not to live. (laughter) Bixby: Find me a house in La Mesa so I can walk to a coffee. Lorton: Yeah. But you’re east of that, right? You're closer to Alpine than anybody else here. Bixby: Yeah. I am close to Alpine. Bixby: Yeah. I used to go the Breadbasket all the time when before it was Alpine Brewing. Lorton: Is that right? Bixby: Yeah. Downie: Well, at this point I'm going to end our recording and I want to thank you all for the time and the stories. This has been absolutely fascinating. 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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=LinkRich_BixbyMarianne_LortonGreg_DownieJudith_2017-07-09.xml LinkRich_BixbyMarianne_LortonGreg_DownieJudith_2017-07-09.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 Link, Rich, Mary Anne Bixby, and Greg Lorton. Interview July 9, 2017. Description An account of the resource <span><strong>Rich Link, Mary Anne Bixby and Greg Lorton</strong> are all early members of <strong>Quality Ale and Fermentation Fraternity (QUAFF)</strong>, a San Diego area homebrewing group. In this interview, Link, Bixby, and Lorton discuss their introduction to craft beer, early home brewing experiences, QUAFF, various local breweries, mead, and womens’ participation in homebrewing. None have worked in the industry professionally, but all are certified beer judges and Lorton and Bixby also judge mead competitions.</span><br /><br /><span><strong>Link</strong> wrote for the&nbsp;</span><em>Celebrator Beer News</em><span>&nbsp;magazine on the Southern California beer scene and his experiences visiting European breweries. He served several terms as QUAFF President. He is a certified beer judge.</span><br /><br /><span><strong>Lorton</strong> served as QUAFF Newsletter editor and President. (He has provided a separate oral history.)</span><br /><br /><span><strong>Bixby</strong>, with her late husband, Horace, switched from wine making to beer making. She belonged to the SDSS (San Diego Suds Sorority) which was a women-only subgroup of QUAFF.<br /></span> <p><span data-contrast="auto"><strong>QUAFF</strong> was founded in 1989 for San Diego area homebrewers to learn, improve, and successfully compete with their beers, ciders, meads, and other fermented beverages. The group also assists members with earning national Beer Judge Certification (BJCP) and encourages participation in club-only and external competitions and charity events.&nbsp;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true}">&nbsp;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true}">&nbsp;</span></p> <p><span data-contrast="auto">QUAFF is noted for sponsoring the America’s Finest City Homebrew Competition. One recipe from the pool of first-place winners considered for Best of Show at this event is selected for production at a local commercial brewery. Participating breweries have included Stone Brewing and AleSmith Brewing. The beers produced include Stone’s Xocovesa, developed by member Chris Banker. The club has garnered awards such as the American Homebrewers Association’s Radegast Award for community involvement and California and National Homebrew Club of the Year Awards, based on competition points earned.&nbsp;&nbsp;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true}">&nbsp;</span></p> <p><span data-contrast="auto">Dozens of QUAFF members have ‘gone pro’ either finding employment in the beer industry in a variety of positions or opening their own brewery. Some have opened breweries in San Diego County and others have moved either elsewhere in California or out of state.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true}">&nbsp;</span></p> <p><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true}">&nbsp;</span><span data-contrast="auto">As the group has grown, the monthly meetings have moved from member’s homes, to Callahan’s Pub, Karl Strauss Brewery and Gardens, and now meet at The Gärten (Bay Park neighborhood beer garden space shared by Lost Cause Mead, Oddish Wine, and Deft Brewing.)&nbsp;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true}">&nbsp;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true}">&nbsp;</span></p> <p><span data-contrast="auto">Their website is found at </span><a href="https://quaff.org/"><span data-contrast="none">https://quaff.org/</span></a><span data-contrast="auto">&nbsp;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true}">&nbsp;</span></p> <span>This recording was made on the front exterior patio of Burning Beard Brewery in El Cajon; there are periods of traffic noise which interfered with recording.</span> Identifier An unambiguous reference to the resource within a given context SC027-054 Subject The topic of the resource Home brewing -- California -- San Diego County Quality Ale and Fermentation Fraternity (San Diego, Calif.) Women brewers -- California -- San Diego County Date A point or period of time associated with an event in the lifecycle of the resource 2017-07-09 Format The file format, physical medium, or dimensions of the resource audio Creator An entity primarily responsible for making the resource Rich Link Mary Anne Bixby Greg Lorton Contributor An entity responsible for making contributions to the resource Judith Downie 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 Marcos 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. California State University San Marcos Brewchive(r) 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 Linda Kallas Interviewee The person(s) being interviewed Joanne Tawfilis 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=TawfilisJoanne_KallasLinda_2022-10-31_access.xml OHMS Object Text This field contains the OHMS Index and / or Transcript and is what makes the contents of the OHMS object searchable in Omeka 5.4 Tawfilis, Joanne. Interview October 31, 2022. SC027-052 01:11:00 SC027 California State University San Marcos University Library oral history collection CSUSM This interview was recorded as part of the North County Oral History Initiative, a partnership between California State University San Marcos and San Marcos Historical Society &amp ; Heritage Park. This initiative was generously funded by the Center for Engaged Scholarship at CSU San Marcos. csusm Military base closures ; United States. Army ; United States. Navy ; Muramid Arts Center (Oceanside, Calif.) ; Mural painting and decoration ; Bosnian Women's Initative ; Srebrenica Massacre, Srebrenica, Bosnia and Herzegovina, 1995 ; Orphanages--Bosnia and Herzegovina ; International Atomic Energy Agency ; Unesco ; Art Miles Project Joanne Tawfilis Linda Kallas mp4 1.0:|18(13)|37(10)|52(10)|63(18)|75(9)|88(4)|102(6)|112(4)|126(7)|138(9)|149(7)|159(14)|169(10)|188(12)|198(5)|208(14)|218(3)|227(14)|242(9)|252(6)|268(6)|278(17)|287(9)|297(7)|310(8)|320(20)|330(11)|348(5)|359(6)|374(6)|384(15)|397(8)|408(13)|417(3)|428(8)|441(17)|451(5)|467(3)|476(18)|486(15)|496(11)|508(12)|519(5)|529(12)|540(11)|550(11)|559(5)|570(13)|579(12)|593(6)|607(11)|621(5)|630(4)|641(10)|655(13)|665(4)|676(5)|690(12)|701(4)|711(13)|728(15)|740(15)|749(7)|766(4)|776(13)|786(11)|798(10)|814(9)|825(13)|841(9)|854(16)|862(8)|953(5) 0 https://archivesoralhistories.csusm.edu/files/original/b2580fba038f13dc496911c1023b4dcf.mp4 Other video English 0 Introduction Interview with Joanne Tawfilis by Linda Kallas, October 31, 2022. Linda Kallas ; Joanne Tawfilis 0 45 Early life and childhood Tawfilis talks about her early life, where she was born in New London, Connecticut and offers a brief introduction to her family. Family ; New London Connecticut ; Filipino ; Dad 0 90 Moving and living in California Tawfilis talks about her moving to California, as well as mentions how San Diego County is one her favorite places she has ever been to. It is here where she also discovered her sense of community through the Muramid Arts and Cultural Center. San Diego ; 1971 ; travelling ; retirement ; moving ; Multicultural center ; Oceanside 0 240 Career as an artist Tawfilis talks about how she started her career in art, from doing illustrations with the U.S. Government, United Nations, and civilian sectors. Tawfilis's career included working at the Submarine School in Connecticut, the Navy and country's Bicentennial, and as an International Military Training Coordinator. Tawfilis also speaks to the impact of Chicano Park. Military ; United Nations ; San Diego ; Chicano Park ; Submarine School in Connecticut 0 597 International Work Tawfilis describes her time doing work both for the military and the United Nations. As part of her work with the military, Tawfilis did bas closure studies. Tawfilis was offered a job and moved to Germany, and from there had the opportunity to work in almost every European country doing base closures. Tawfilis also worked for the Vista Volunteer Program and then the United Nations. It is through these experiences that she learned other languages and honed her people skills. It is also through this opportunity that Tawfilis worked in countries going through turmoil and war, such as Somalia, and Cold War Germany, where she worked closely with the constant unrest around there. Military ; Travel ; United Nations ; Germany ; Austria ; Army ; Kettle Falls, Washington ; Europe ; Atomic Energy Agency ; United Nations Environment Program in Nairobi ; Sergeant Shriver ; Peace Corps ; Americorps ; Vista Volunteer Program ; Africa ; Somalia ; AIDS ; Gigiri ; War ; Germany ; Austria ; Cold war ; Berlin Wall ; Army Management Staff College 0 1077 Work with the United Nations Tawfilis talks about her time working with the United Nations, the conditions of U.N. employees that are local nationals, and briefly speaks about why she was car-napped. United Nations ; Vienna ; Austria ; Africa ; Kidnapping ; Bosnia 0 1211 Work in Bosnia / end of her career Tawfilis speaks about the end of her career, close to her retirement. Given a choice of working at the Pentagon or working in Bosnia, Tawfilis took a position as the Director of the Bosnian Women's Initiative (commonly known as the Widows of Srebrenica) in response to the Srebrenica massacre of six to seven thousand men. This choice led her to eventually work in an orphanage, where Tawfilis worked with children in creating art. Tawfilis mentions her TED talk "Painting Outside the Lines" where she goes into more detail on the project. Bosnia ; retirement ; Washington D.C ; Army ; Serbia ; Women ; murder ; TED Talk ; TED-X ; UCSD ; Orange Coast College ; Orphanage 0 1645 Artwork through the Orphanage Tawfilis describes her time working for the orphanage, and explains how working for the orphanage, led her to her passion for art through the children there. Tawfilis also began to work on murals honoring specific tragic events.&#13 ; &#13 ; Orphanage ; Children ; Yesterday and Tomorrow ; Art ; Religion ; Bombings ; UN ; Connecticut ; Art Mile ; Avenida de Los Artistas ; Foulad 0 2129 The Muramid Arts and Cultural Center Tawfilis describes setting up the The Muramid Arts and Cultural Center, which is the first mural museum in the world. She explains here how they came up with ideas for various murals. She also breifly describes how they are made, using objects such as PVC to make the murals in multiple dimensions. Tawfilis also mentions how their murals are located all over the world. Giza ; The Muramid Arts and Cultural Center ; Pyramid ; Egypt ; Oceanside ; Irvine ; Japan ; Murals ; International Decade for the Culture of Peace 0 2280 Art Miles Tawfilis talks about the art project referred to as "Art Miles" which is a series of murals that spans a long distance. Mural themes have included peace, unity, and women, and also tackle issues from every human and natural disaster. The project has also done murals on cultural creations such as sports and music. Tawfilis details some of the murals and what they represent, and speaks to mural making as a form of self improvement and healing, in response to their often tragic origins. Women ; Art Miles ; diasters ; Murals ; climate change ; Children’s Environmental Health Network ; Music ; Sports ; Japan ; Guinness Book of World Records ; United Arab Emirates ; NCAI ; Africa ; Native Americans ; Guiness Book of World Records 0 3036 Murals, continued Tawfilis talks about how the ideas of the murals spread, and how they are able to reach out following a tragic event and create a mural for that community, hoping for something that will mean a lot to these people, instead of payment. Tawfilis also talks about some of the logistics of running a non-profit that creates murals. non-profit ; emotion ; Creator ; non-governmental organizations 0 3283 Sprituality, people, and culture in the murals Tawfilis speaks to the importance of culture and representation -- especially of indigenous cultures in murals, and that the Muramid's global scope is vital to North San Diego County's fabric. Catholic ; Connecticut ; Mission ; Luiseno ; North County ; Indigenous communities ; Diversity 0 3433 Enslaved Africans and indigenous peoples Tawfilis gives a background of slavery post-civil war and a loophole that was used to continue to bring enslaved peoples into the United States. Tawfilis speaks to how in Oceanside, the gentrification and commercialization of the area is leading to the destruction of its natural beauty and history. Tawfilis mentions the Muramid's ties to UNESCO as a Center for Peace for all of California and Baja. Tawfilis also speaks of Mexican and Luiseño peoples, how similar their experiences are with the destruction of their local communities for the sake of tourism and advancement. Slavery ; Mobile, Alabama ; Africa ; History ; Mural ; Commercialization ; Oceanside ; UNESCO ; Center for Peace for all of California and Baja ; Mashantucket Pequots ; Mexicans ; Indigenous people ; Machu Pichu ; Egypt ; Valley Arts Center ; Luiseño 0 3834 Future initiatives &#13 ; Tawfilis discusses her future plans which include writing books, finding a home for twelve miles of murals, and the Endangered Planet Foundation. History ; Murals ; Books ; Smithsonian ; Endangered Planet Foundation ; Cave Men ; Machu Pichu ; United States ; Expressing Emotion 0 4063 Final messages Tawfilis expresses her final thoughts, from acknowledging each other's differences in opinions, to never giving up on a goal like going to school. She also has one last moment to share her awards and how proud her father would be of her seeing her accomplishments. Opinions ; differences ; awards ; PhD ; Arlington National Cemetery ; Filipino ; North County 0 Joanne Tawfilis is the executive director of the Art Miles Mural Project, which has had the participation of over 500,000 people from 125 countries to paint murals. Tawfilis and her late husband Fouad started the Art Miles Mural Project after Tawfilis worked with orphans in Bosnia, where they created a murals using the only materials available -- a 10 gallon can of white wall pain and bedsheets riddled with bullet holes. The Art Miles Mural Project is currently homed at the Muramid Arts and Cultural Center in Oceanside, California, where there are electronic displays of over 5,000 murals, art classes, music, and spoken word performances. &#13 ; &#13 ; Tawfilis has had a storied career and has worked with the United Nations Environment Program (UNEP), the International Atomic Energy Agency (IAEA), the Women of Srebrenica Project, and UNESCO. In her interview, Tawfillis discusses her career working as a civilian employee of the military, as well as her work with the United Nations, IAEA, and the Women of Srebrenica Project. Tawfilis also discusses the creation of the Art Miles Mural Project, the Muramid Arts and Cultural Center, and her thoughts on art as a vehicle for healing, empathy, and peace. Linda Kallas: Today is October 31, 2022. I am Linda Kallas, and I am interviewing Joanne Tawfilis as part of the North County Oral History Initiative. Thank you for joining me today, Joanne. Joanne Tawfilis: Thank you, Linda. Glad to be here. Kallas: It’s my pleasure. I’m going to give you some questions, and you’re going to answer them and to the best of your ability and we’ll just keep moving through the questions. Okay? Tawfilis: Okay, sounds good. Kallas: First of all, when and where were you born? Tawfilis: I was born in New London, Connecticut, and, um, a long time ago, (laughs) almost seventy-seven years. Kallas: And was your family an active part of any cultural communities where you grew up? Tawfilis: Actually, my family was one of the first Filipino American families in the town that I was born in. Um, we had a huge family, and then another family came and there was sort of a competition between the two families on, I think, who could have the most kids. Kallas: Oh! (chuckles) Tawfilis: And I think my dad won! (both Joanne and Linda laugh) Kallas: Um, so you didn’t grow up in North County. You moved here how many years ago? Tawfilis: Oh, it was—I moved here probably, um, in 1971, was when I first came to California. But then with my career I traveled all over the world, so I was back and forth on a regular basis. Uh, I had children and grandchildren here, and when I retired in the year 2000, I decided to settle here in paradise. (nods) Kallas: Nice. And how do you like living and working here since then? Tawfilis: Oh, I love San Diego County. Out of all the places I’ve ever been, I think that what I—I love the weather like everybody else, but it’s very multicultural, and, uh, makes life interesting that way. And grandchildren will always keep you where you are going to retire. Kallas: Um, do you feel like you’re part of the community? And do you have a support network? Tawfilis: I feel very much part of the community in many ways, but on―in some ways, no, because we’re—we’ve kind of discombobulated in this county where North County is kind of separated. But, I—my community is global, so it makes it a little bit interesting for me to try to be part of this community, despite the fact that I am, uh, running a multicultural center. Oceanside seems to be very focused on downtown and tourism, and, uh, I wanted to be here, even when I was downtown when we had our, um—it’s our studio and our center and our museum, the first mural museum in the world in Artists’ Alley. I—I thought we were really integrated into the community, but when—when I had to move out and come down here, it’s been a little different because we’re—we’re—we’re not considered you know neighborly, I think, is my—my feeling. We—we—we’re here. I love being part of being imbedded into the community, especially the indigenous community, because the Center was supposed to be focused on multiculturalism, with the focus on indigenous people. Kallas: Um, so prior to doing what you do now at the Mural Museum and the Art Miles, you had another whole career. Can you talk a little bit about that? Tawfilis: Yeah. I started out doing illustration work with the U.S. government, and when computers came out, they scared the heck out of me, being a non-technical person and being kind of a—I think, at that time, a very snobby artist (laughs), and then when people tell you what they want painted on, or drawn with specific directions, I had to question “Why, then, do you need me, if you’re not going to use my creative brain.” And the computer-generated art didn’t appeal to me because of that. Although now it’s grown into such a great variety of software programs, you can do almost anything, even with your own art. But as a young artist, I didn’t see it that way. So I worked for the military for most of my career in civil service, and then later on, combined my civil service career with the United Nations, and got to travel, a lot! Kallas: Um, so, some of the work—you want to talk about some of the work you did for the military, Civil Service department? Tawfilis: Yeah. After doing illustration, um, at the Submarine School in Connecticut, where we—where I was born, and my ex-husband was military, we traveled and that’s how I came—came to California. Um, and I worked really hard doing graphics here. Um, I rose in my career there to, to when the Bicentennial happened in, uh, 1975–76, the Navy and the country’s Bicentennial, and I got a little bit famous because I coordinated the whole military celebration down at the Broadway Pier , and things like that. And, then when, uh, uh, I went as far as I could, as far as a illustrator, was go—was my part of my career, and they started to do more and more graphics. I mean I worked at every military base in San Diego that you could think of. Kallas: Oh. Tawfilis: And then an opportunity came to become, uh, the first civilian and woman to be a, an international military training coordinator, and that’s how I got really involved with the international work, because the job was to be like a cultural, um, leader for the military people that came and their families, and setting up Friendship programs, and ex—not exchange programs, because these were, these were guys that were being trained on the equipment in the ships that we sold as part of the―what they call an international military exchange training program, I met and several others. So, I worked through all the bases doing that, and really loved, um, starting programs for the military and introducing them to American culture. And that was my real first experience, and getting international people to know the native cultures. And I did a lot of—I spent a lot of time down in San Diego, and Chicano Park, and I used to have the military, even the officers, lay down in the, the big, uh, like a pagoda―I’ve forgotten what you call it (chuckles), I think this is my senior moment―um, and look up to see the Inca and the Maya—Mayan civilization paintings, ‘cuz that’s where Chicano Park is sort of visualized and painted in amazing murals. And I did part of that on the bridge, the bridge stanchions that show how the Mexicans and the Spaniards came, and the farm workers came. And that was a lot of indigenous peoples from Mexico. And that got me interested. And then coming from Connecticut and New England where we had a lot of Native American tribes, a lot of international people ask about what happened to all the Indians in American culture? And a lot of—back then, a lot of international people only knew about cowboys and Indians, like most of us when we were growing up, you know, decades ago. And it also—it was very interesting to me because my minor in college was Native American Studies. Kallas: Oh. Tawfilis: And that’s how I got introduced to it. But, you know, it was something that you think of academically, although it struck my heart because I was really angry at our educational system for not letting me know, among others, that where I grew up and lived most of my, you know, young adult life prior to college was Indian country. I mean, one of the thirteen colonies. And people don’t realize what kind of impact that had, has on people when you’re growing up. So, that affected my, my heart always. So, when I—in my career, I’ve always had that as a, I want to say, a big influence on what I’ve done to, to teach international people when I travel, both with the military and with the U.N. Kallas: Now, did the military send you to other countries as well? Tawfilis: Oh, yeah. I ended up—I started out doing, like I said, the international training stuff, but then I was on the base closure team, where my career went way up as far as getting higher promotions and better pay, and stuff like that. So I ended up, after doing base closures in most of the San Francisco Bay and Hawaii area, my territory was, I was one of twelve people that did the base closure studies. And then I had an opportunity—kind of as a fluke—to apply for an international job with the Army, and my supervisor and I both did it, um, as a—I don’t know, we just got a, a bug to say, “Oh, let’s see what happens if we apply to do what we’re doing here in the States, doing base closures.” And so, they offered her a job, and she turned it down. And they said “Oh well, the next person on the list is right in your office. Can we talk to her?” That was me! And so I ended up going to Germany. At the time I had been working for the Navy for over twenty years, in different positions like I said, from illustrator to management analyst, and working at foreign training and base closures. So then I ended up going to the Army in Germany, and that was, uh, right after, um, the Bicentennial had ended, and then I did a stint with—I took some time, and got, went on loan as a Vista volunteer, and went up to the Nespelem reservation in Colville, Kettle Falls area of Washington. I got really lucky cuz’ my hero was Chief Joseph (chuckles) and so I worked on that reservation in a parent aid program. But that’s another whole thing that maybe we could talk about later. Because going back to the military, I did this closing the bases in Europe and I became one of the heads of the base closure team there, and that’s how I got to travel to just about every European country there was. And, um, from there, I got recruited by the state department and through my federal military civilian job, went to work for the United Nations in, in Austria after the base closure job in Germany, that I went onward to, um, working on loan again. I went on loan from the Navy to the Army, from the Army to the International Atomic Energy Agency, and on loan again to the United Nations Environment Program in Nairobi. I mean there were jobs in between, but, and like I say that the stint I did at—I got to continue my career, even though I stopped working for the military for two years to work on, um, the Vista volunteer program. When Shriv—Sergeant Shriver started the Peace Corps, he also started the Vista volunteer program, which is now, I think, Americorps. So I was in that first round. Kallas: Mm-hmm. Tawfilis: And then I went back to civil service and continued on, and onward to U.N. Kallas: And did they send you to, um, war torn countries, and where there was a lot of political unrest— Tawfilis: Oh, yeah. Kallas: —as a representative? Tawfilis: Yeah. When I went to, um—well, I could say my first stint overseas in Germany with the Army was when the wall came down. And I had just adopted two more children, and uh, I remember during that time the―when the wall came down, my kids were like, like—they were adopted from Mexico, and then—but they were Americans in a sense, so they were Mexican descent. And it was really interesting for them to learn German, so you see two little Mexicans speaking in German (chuckles). It was kind of cool. And, um, but the war torn part of it was―my job was because the war was over, the Cold War, and the wall came down, the government decided that’s why they wanted to close the bases because they didn’t need that anymore. We had so much military might invested in Germany because that was the actual front, that it made my job easy because the, the common sense of the economic support that they did for Europe, um, on the, well, it was called the front, made sense to start closing the bases. And so, I became a superstar, doing that, because I had people skills, so the generals that I worked for decided that it was great to have a woman civilian go give the commanding officers of the base the good news and the bad news that their base was going to be closed. And as a result of that, I was one of four women chosen to be, um, a member or take part in a study to decide whether civilians should become executive officers of military bases. So, they sent us to Army Management Staff College, and I was one of the four women that attended that. And so, the idea would be that I would become an executive officer of a military base so they could station military in the field. The problem with that is there’s no military that’s going to listen to a civilian as a boss. So, you can ask my son-in-law about that, ‘cuz he was Army. In fact, my daughter met him there in Germany. But, yeah, that was one. And then with the U.N., when I went to Africa, there’s all kinds of―I want to say―conflicts going on, including Somalia, Rwanda, during all that time, and so, yeah, I saw a lot. In fact, I was car-napped and my own personal safety was in danger there, not only from being exposed to so many people that were dying of AIDS, but because of the tribal—there’s like forty tribes in Nairobi alone and there were conflicts and a lot of cultural differences between the tribal people and a lot of, um, little―I want to say―mini wars going on and the political strife, and then of course, it was pretty bloody with Rwanda and then Somalia in that area. But I got to travel all over Africa, looking at—my job there was to consolidate the U.N. organizations in Nairobi and the base was called Gigiri, and, um, I got in trouble there, because I tried to support the local indigenous people with the financial area. So, if you want to talk about wars, and danger, and stuff like that, I think people think of shooting, you know, and bombs and stuff. But there’s other kind of wars, like economic ones. And I came up with this idea that civil service employees in international organizations should be cay—should be paid equally. But they have this system in the U.N. where local nationals are―have to go through a wage classification survey and they get the prevailing wage rate, whatever that country is. So, in other words, my secretary in Austria would get $3,000 a month, but my secretary in Nairobi would get $300 dollars a month. Kallas: Oh... Tawfilis: Yeah. And I just didn’t think that made sense, working with the U.N. So, it was kind of a battle there, and I think that was the biggest war for me, is trying to help the local nationals. And I did some―I want to say―out of the ordinary things, like promoting them when other people went out on mission they would hire people to come in and pay them exorbitant amounts of money, including me, because I, I was on a stipend on a daily basis, in addition to my very high salary. But the work was done by the local people. I think that happens everywhere, that the real worker bees don’t get recognized for the, all the work that they do, and they carry on the mission of whatever that country’s, you know, objectives are. And so, I think that’s one of the reasons I got car-napped, because I had a big mouth and I actually wrote a book about how to flatten the United Nations. So, they sent me back. I was on loan from the International Atomic Energy Agency in Vienna, Austria to Africa, and because I tried to help the local people, I think I wasn’t going to go much further, after ten years, you know, working for the U.N. So, that was my personal battle when you talk about wars, and dangerous things. I mean, when you get to the point where they don’t want you to talk―and it wasn’t the U.N. that did it―it was a person that probably wanted the job that I had―that arranged for this kidnapping or car-napping that I survived. So… Kallas: So, you also, um, had spent time in Bosnia during that— Tawfilis: Yeah, at the end of my career— Kallas: —that was after all the— Tawfilis: with—I was getting ready to retire and, uh, because I was on loan as a very high-ranked civilian, the only place they could put me would be the Pentagon in Washington, D.C. and I didn’t want to move to Washington, D.C. I’d been at the headquarters many times with my job with the Army. I did a lot of stuff for the Army, like I said. And I really didn’t want to move to Washington, D.C. So, they gave me a choice of going to Bosnia and working with the widows at Srebrenica, at the end of the conflict in the Balkans between the―where Yugoslavia had broken up. And I went on an interview sponsored by the Clinton Foundation to be the Director of the Bosnian Women’s Initiative or what they—most people know as the Widows of Srebrenica, where at some point they gathered the Bosnian women together―and I should say the Bosnian families together―in their village called Srebrenica which was a safe haven. And unfortunately it wasn’t a very well protected safe haven, and on July tenth and eleventh in 197―uh, 1995, the Serbs came in and gave the people ten minutes to come outside, and they put the women on one side of the street, women and children under fourteen and old people, real old people, and then they put the men and boys on the other side and then they took all the women, put them on buses and sent them to a village in the mountains, in Tuzla. And the men disappeared. They found some mass graves. They found some bodies in a forest where they were―tried to run away, I guess, some of the men. And, but they never found the whole―I would say, whole group of the over six to seven thousand. They, they suspect―there’s a lot of theories, and a lot of books written about it. But my job was to work with the women and help them do economic development and to heal and to also help identify bodies and get all their data because they had no pictures of their families. They had, you know, all this stuff that they—they left with nothing. And then to try to help reconciliation between the three entities, and I ended up, you know, working my, my heart and my head off, because working with people who have lost everything and witnessed the destruction of their country and their families getting killed and murdered and their men disappearing, and these were mostly farm women that didn’t even know how to write their name. So, I think I worked harder in my life those three or four years that I was there doing everything from gathering information to help put the war crimes together because these people were still on the loose. And then throughout the years, the military would find them and capture the war crime perpetrators and bring them to the Hague and they were imprisoned, and some of them—I won’t name names—passed away in prison before they could be tried. But it was terrible trying to identify remains with the women. Maybe it would be just shreds of a shirt but they recognized their husbands. And then having all that emotional—I think I have a whole book of stories I could write about their suffering. Kallas: Mm-hmm. Tawfilis: But because of that, I was encouraged to go work in the orphanage and there three hundred fifty orphans. I have a TED talk online, TED-X from Orange Coast College. And, it was―it’s called “Painting Outside the Lines.” I also have one from UCSD “Stem to Steam” because I put the art part in there. But back to the Bosnian situation and I guess as the point of my career that changed my life that we were going to talk about, because when I saw what the children had gone through and I―they―they told me—you were getting— I was getting very depressed, and they said “you need to go work in this orphanage.” So, the three hundred fifty orphans from all three entities, but they had not found or located all families. So, some of the kids had no survivors. I understand that most of them they were able to place them years later. But while I was there, my―my, uh, free time, if you want to call it free time, was to go and work with these kids to do art. And then after about three months of just sketching and coloring and stuff, they asked if they could make a very big painting and I interpreted that as a mural. And so if you―you’ll hear on the TED talk, how we found bed sheets in a closet that were full of sort of darned holes and the―they explained to me that the young ladies in Europe learn how to sew, which we did away with here in the United States. But there they sew everything. So, when they pulled out the sheets, and they had all these little stitches, and some still had holes, I, when I asked them what the holes were about, they said “Well, this used to be a hospital, and it was bombed. So these were from the shells and the shrapnel that, that, you know, made holes in the walls and the bedding and the whole bit of the ugly hospital beds over there.” So, what I did was the Army had left a 10-gallon pan―pail of white flat, white wall paint and I, I had them sew two sheets together and I put masking tape on the back where I thought there were the least amount of holes and then I just painted. I put a whole bunch of newspaper, and in the morning it turned into a very stiff canvas! So, we had a canvas and the kids got very excited. Every time I think about their faces when they saw that, and then it was like “Oh, we’ve got to paint that whole thing?” You know… Kallas: So, that’s when your two careers intersected, so you kind of went back to— Tawfilis: Right. Kallas: roots, and— Tawfilis: And I got to do art, right? So, but what changed my life were the, the children and the oldest one was about eighteen and then they had a little eighteen or nineteen-month-old baby in there, and they divided the kids up into groups of five. And they took two older, mostly teens, and then three younger kids, so they could take care of each other, ‘cuz they only had five people running this whole orphanage. There was psychologist, and then the other four were caregivers, and they cooked for them, and made sure that they were, you know, trying to keep them busy. There were—I don’t even think they had formal education for them, because there was nothing. And they were just being protected and fed, and trying—and I think doing the art was a real important thing in their lives. So, how my life changed was, the kids started—I said “you have to decide what you want to paint.” So, what they—I had them do, is I said “Draw something that you want on this canvas.” So, they all did it, and I still have some of the sketches. I should have brought some. But they, they, they had to come up with an idea that would go on the canvas. So, we looked at all the drawings and they started forming this dialogue and they started talking to each other. And you have to understand these kids were very depressed themselves, and they had these real— Kallas: Traumatized. Tawfilis: Yeah. They were all traumatized and they were kind of afraid of each other when they were—they knew that one was a Serb, and one was a Croat, and one was Bosnian. And they didn’t―they matched them up by age, not so much by what sect of religion they belonged to. So, and in children weren’t so attuned, maybe the older ones were a little bit more conscious of their religious differences, whatever. But in the discussions that they were doing, they started talking about the trauma that they had gone through. And some of the kids knew each other from the different villages that they had come from. And I found myself going outside, crying myself, because they started talking about what they saw, what they felt. And even now, when I think about it, it’s still—it burns a hole in your heart, but it —I wondered how this was going to work. And I’d go back in, and then they decided on a theme. And what was happening is they were going through a catharsis themselves, and they ended up with coming up with the theme “Yesterday and Tomorrow.” And the Yesterday section of this one―I guess we would call it a triptych in our art language, Yesterday, they did sketches of houses that had no roofs, ‘cuz they’d blown up. Airplanes dropping bombs, and then because the women were wearing kerchiefs because they were Bosnian Muslim, they had their heads covered. There, a lot of the little drawings had little pictures of women lined up, going, and they remembered having to come out of the houses in Srebrenica and line up on the other side of the street. So you saw ―you would see sketches of that, and dragons, and just ugly things that they, fires, things burning. And then the middle section where they had put the groups of five together, they drew their little new families, which was really cute. Kallas: That’s awesome. TAWFILIS: And then on the third panel was, were flowers and clowns and balloons and stuff like that. So they called it “Yesterday, Today, and Tomorrow.” So after five days of going through that, I can say that was a life changer for me, and, and I was telling my husband about it, and we, we made that first mural, and he was in the process of constructing a new building, me, a gallery, and we called it Avenida de Los Artistas. So, we had a Spanish name in a German country, speaking country in Austria. We started , he started doing murals, or I started it on the wall, one of the walls of the museum that was being built, at the gallery. So, when I’d go back home, we were making murals, and after about a hundred of them we said “we should make this a project.” Because the latch kids would be coming, then the schools started sending kids over. So we turned it into a project, and actually Foulad, my husband, was the man who came up with the idea of calling it “Art Mile.” We didn’t know it was going to turn into twelve miles! But that’s how it started. And then at one point I met a professor from Wesleyan University, and I did some murals. The very first mural we did outside of Bosnia was in Austria. And then on one of my trips back to Connecticut, I met this professor from Wesleyan, and we did one at the university there. And he said “You need to tell the U.N. about your project.” And, so, there are lots of things going on, wars, conflicts all over. And so the United Nations had set up a program called the International Decade for the Culture of Peace. And it was founded by Ambassador Chaudry of the U.N. who was at the time Under Secretary General for small developing nations and island nations. And he had written the resolution to start this International Decade from 2001 to the end of 2010. And so my husband and I had this crazy idea of going to New York and getting him to support it as a U.N. project. And at the same time, the son, the grandson of Jacques Cousteau heard about us, and said “I’d love to see what you’re doing. Maybe you should do murals about the sea.” So he flew from London and met us at the famous hotel in New York, and I was, while I was there to meet Ambassador Chaudry and said he would love to see us do murals about the oceans and the sea and the water. And at that time he was at grad school, I believe. And so our very first celebrity fan was Phillipe Cousteau, the son of Phillipe Cousteau, who passed away in a plane crash. He was one of the two sons of Jacques Cousteau. So we went on to the U.N. and just unrolled five canvases, one of them was done in Nairobi, and it went all the way down the hallway, cuz they were five feet by twelve feet, so we had almost fifty feet of canvas going down the hallway and Ambassador Chaudry’s office took up a whole floor of People in the U.N. building and they all came and looked at it and they all fell in love with the project. And that’s when we got his support and endorsement, and we started doing murals. And now we’ve got over twelve miles of murals from all over the world, which many of them are right here in this building. And our headquarters is in North County and Oceanside. Kallas: And that is called? Tawfilis: The Muramid Arts and Cultural Center. We had it set up as the first mural museum in the world, and for people who don’t know the word “Muramid” comes from murals that were being constructed into a pyramid which we had set up a project. My husband came up with the design and he did the photography of over a thousand murals and did them in miniature because we were going to create the Muramid Pyramid at the great Pyramids in Giza. And at the time, we had also, I had retired. We had moved to Egypt. We have a home there. And my husband spent a lot of time and a lot of money. What we called Back Cheese, with the paying under the table to the Minister of Education, Minister of Culture, to do a fourth pyramid to be constructed with piping, I don’t know if they call it, it wasn’t the PPV―PVC piping, it was metal. And he designed that. And then a company here in Oceanside―not Oceanside,―in Irvine, “Supercolor Photo,” were kind enough to make the model and take my husband’s design of the miniature murals and make a cover. And we were able to have a ten-foot model that we were going, we used in several places. In fact, we have ten models all over the world right now, including Japan. And we participated in international conferences and things like that. And the whole idea was to have, to have (someone enters the room, off camera) I thought I locked the door, sorry. Anyway, the whole idea was at the end of 2010 we would have this celebration to commemorate the closing of the International Decade for the Culture of Peace. And then, what happened was, because we had so many conflicts we ended up with a second decade, which ended at the end of 2021. Kallas: Now all of your—you have twelve themes for your Art Miles. Tawfilis: Mm-hmm. Kallas: Can you share a little bit about that, and what, what people gained from doing these murals? Tawfilis: Sure. The first thing that we did was Peace, Unity, and Healing. And then we ended up with the Women, because the women’s influence on art and healing. That’s where the healing part came in. And you know when you think about peace, unity, and healing, then you talk about women and their role in it. And then we started environment, because everybody started complaining, and worrying about climate change. And as you know, that has a subject that has increased so many, so much all over the world. And it’s happening. We’re all experiencing that. And then we started doing murals in response to every human and natural disaster. That’s even when 9/11 happened in 2001, it was a big deal and we did, like, many murals and actually exhibited some of them on, at Ground Zero. We were there, doing the mural, at Georgetown University on September 11. And we got sequestered into the hotel that we were staying at, because we were doing a Children’s Environmental Health Network thing. But anyway, back to the themes, so that’s how the environment started. We, the third one was Children’s Environmental Health Network where they actually did a film about us there. And while we were doing that, we ended up being, watching the Twin Towers come down. And then from there we started Children’s and then Fairytale and then Sports and Music, and so now we have Hero and we had—then we started the Japanese government, or I should say our Japanese team started doing an exchange program. They called it, they call it the International Intercultural Mural Exchange where they do half of a mural in Japan and the other half in another country, with another school. So, there’s four hundred forty murals for each themed. They’re all, not all five by twelve, some of them are half sized. But our goal was to at least get to twelve miles, and then in 2008 we attempted to break the Guinness Book of World Records. But three weeks before that, we found out that the United Arab Emirates had already done that with the longest mural in the world. And we couldn’t surpass it, because they, they would, they did like ten-mile, not ten miles, ten murals more than us. But, even the, the grand master, whatever they call them, that comes to do the, to officiate measurements stuff, said ours weren’t connected , and they want a continuous theme. So, what the, what happened with the United Arab Emirates, they did, they did, I think at that time, like four miles, about women, and it was done for International Women’s Day and they featured the, all the children. And all the schools did murals about the sheikah, or the queen, I guess. And then they had to burn it, because it was done on paper, and Islam doesn’t allow images. So, but they did break the record. Plus, it cost ten thousand dollars to bring the guy over, and we didn’t have that kind of money. We still don’t have that kind of money, because we do it all from our hearts, very few donations. Kallas: And can you talk a little bit of how the initial concept of murals has evolved over the years, compared to where you started in Bosnia, and to where you are right now with the murals. Tawfilis: Yeah. I think the biggest change is education. We found that education has come to the forefront because whenever, whatever thing you’re working on, it teaches you something, you know, whether it’s fairy tales that are originally thought of by children and from their imaginations or sports. There are―you learn what the sport’s all about. Music, the same thing. We’ve even had music murals created while people are looking at a mural and they write music about it. And then, or vice versa. Or when it’s in the indigenous mile. At one time we presented a—because I was in Connecticut at the time, we had someone present the idea of doing—we discovered there were five hundred fifty recognized tribes. And so they did a resolution at the National Congress of American Indians, NCAI, that each tribe would contribute a mural. But we got so busy, and then my husband passed away. We have never followed up on that. I don’t know how long those resolutions last. But I would love to revive it. But since that time, I’ve also discovered there’s a whole bunch of non-recognized tribes. And I think that has appealed to me more, because I feel like, how could you not recognize a tribe? I don’t care. I know that there, their requirements have DNA and numbers of members and whether they have a reservation or whatever. But, it’s not accounting, some of the tribes don’t get credit for just being there, and being there first. And they were decimated by whatever colonial tribe or―how would I say―shouldn’t be―that’s the wrong word―colonial influence that came in and took over those lands, even in our own wars, in the Civil War. Even before that, they, you know, the genocide of Native Americans is something that most Americans don’t even know about. They don’t even know about there’s so many tribes in every country that they went through the same thing. You know, the genocide of every African nation. There’s thirty-three countries in Africa! And most Americans don’t know that. There―you could go there, and you could say “The Dutch took over this country. The Italians did this country. The Brits did this.” You know. And they left their influence, but they also started slavery, and brought it here. And then―and I think that’s why there is a bond between a lot of Native Americans. When you―one thing I’ve even discovered more of later in my life is how Native Americans helped so many slaves, you know, following the Civil War. Protected them, and hid them, and intermarried, and that’s why there’s a lot of controversy among white people about―they had this concept the Indians were “red.” First of all, I don’t think I’ve ever seen a red person, or a yellow Chinese person, or maybe caramel, like me. (both she and Linda chuckle) And when you think of black, kids in school when you say “These are Africans.” They use black crayons or black paint. There are some very black people, I think. Some countries have all shades. India has black India people from East India. And Senegal people mostly are darker than most, you know. But there’s also a whole shades, hues of people. But like Aki, our drummer, says “Inside we all have red blood. We all have bones.” You know, and when we all die, you can’t tell, maybe by the―anthropologists will tell you about the skulls and the framework and stuff like that. But color? No. Religion, you know, that’s another thing. So, the other—to get back to your question. The other evolution has been healing. I think the focus now is more on healing, because we have so much―what’s the word―conflicts around the world. And then personal violence going on with school shootings and the massive massacres with massive killings all over and accidents and natural disasters, with hurricanes and floods. Right here in California, the fires, right here! They came right up to the back door here, you know. And if you drive up through the mountains going to, to go buy a pie, you’re going to find out. You drive through all the reservation areas and you see where the fires from the past―you see those still the black, some of the trees, and there’s a big contrast with the silhouettes of those trees and then the―now the overgrown greenery. It’s so beautiful, and you know, things like that. So, healing has made a big difference, because when people―and what I’m really, I think, what I’d like to share in this interview with you―is that healing isn’t just the murals that we send to the people who have been become victims and their families of those who were killed or injured in these horrible violent events or disasters. It’s us, ourselves. When each school shooting happens, how many parents and people with a heart feel that pain, of, of—I can’t—every time I hear of a school shooting, I think of those poor little kids, and I grieve for them and for their families and for the friends and the neighbors that were there. And my first exposure to that was actually the, the widows watching those children, and then 9/11 when the Red Cross had murals being done all over. We have some amazing murals that came from all over the country and the world, displaying their feelings. And one of them, one of the ones that stands out in my mind, is Hope, Alaska did one. And it, the whole mural is the word “Hope” but inside the word “Hope” they drew people, and a lot of native and indigenous people are in that. And then, when Sandy Hook happened from my, where I’m from, Connecticut, I went there, and to see those little children, you know. How can anybody go in and kill all those little tiny kindergarten kids, and the teachers? And then what people don’t know there’s, in America, there’s a place called Beslan, near Russia, where the radicals, and the— Kallas: Government was involved in― Tawfilis: Yeah, over two hundred people, two hundred kids and teachers killed. And then again, recently, you know, I mean we could go on and on. And every time we did a mural, it was like once or twice a year, and now, I mean, I think in July we had three shootings , and, you know, things we had to respond to. And actually, I’m behind! We haven’t been able to do, Massa from the, Mahsa Imani―Amini, from the―from Iran, because we’re so busy. We just finished Ukraine, you know. There’s just, St. Louis. All this stuff keeps happening. So, healing! Kallas: So, part of your process in dealing with this tragedy is there’s a healing element for you to respond to those through a mural. And you send those murals to those places, correct? Tawfilis: Yeah. And we’ve been lucky. Sometimes we hear back, and sometimes we don’t. Because you can’t expect everybody, every city and town, to say “Oh, gosh, all these people.” You know, people send food and clothing. And a lot of people do art and murals and flowers and, and stuff like that. So, I know, you know, part of giving, what people don’t understand is we give and we do murals from our heart. We don’t expect a lot in return. What I expect is when people paint a mural to send that they are sharing that same emotion that I feel that they want people to know that we’re thinking of them, and that we’re sending our prayers and good wishes. I know people think that a lot of non-governmental organizations do things for money. Well, we’re, we’re a great example of “No” (laughs), because― Kallas: Non-profit. Tawfilis: Yeah, we are a true non-profit. And my husband and I and a lot of people have contributed. We don’t have an overhead staff that we, we pay for. We can’t. We just don’t, you know. Thank goodness we have good―there’s so many―I focus on the good people and the good things that come. If I started thinking about what I have or what I don’t, you know, what I don’t have, with other organizations that get grants, and they have sponsors and philanthropists look at them, I would never be able to do what I do. At this age, I’m just now starting―we have a Foundation that we’re working on, and my goal is to finally, if I realize it, if I want to have a legacy in the name, in the memory of my husband who gave up his career, and out of my true care and I say, I want to say concern for people who are suffering, and indigenous people, I think that’s why I want it here. That’s what brought my here. I think the Creator, whoever your Creator is, my Creator is a number of spiritual things, that I saw this place that we’re sitting in right now before we opened the Muramid and Artists Alley. And my husband said “It’s too small. It looks like a house!” And it was full of crazy stuff that had been here before. So, it was neglected and smelly. It didn’t have high ceilings when we peeked in the windows, and he, he just kind of passed it on. But, something called out to me in this place. And I remember driving around one day after I knew I had to leave Artists Alley, because he passed away. I hadn’t, didn’t have the infrastructure and the help that I do now with Aki and his drumming and neighbors and friends and people that have helped put this thing together. I remember driving around and it still had a For Rent style on here―sign―and I parked the car and I called the guy and the property manager. And it was still in the same shape that it had been, I guess, six years before. So, this place had been empty for a while. I think maybe something might have happened in between, but I doubt it, because judging from when we did get inside, and there was a lot of feces, dead animals, all kinds of stuff. But I can feel this place. When we took down the ceiling, because it was that―what do they call it―insulation hanging down, and I looked at the wood, and I realized “Wow, this place was here a long time ago.” I didn’t know the history of the place, but I’ve been told it was the original general store for the Mission. Kallas: Oh. Tawfilis: And then when I found out about the Mission and, you know, being a Catholic, in a former life, I thought “Wow, this is pretty cool!” Then I remember reading, like other things in Connecticut, that there were people here before the Mission came, and I got really passionate about “I’m going to put it right there.” And I want to dedicate the place to the Luiseño, because I found out that they are the people that this belongs to. And everybody that comes in the door, every single person, I can’t think of one that hasn’t come in the door for the first time and goes “Wow! This place, it has such great karma. It feels warm and friendly, and it’s inviting and it’s good to be in here and it’s so creative.” And I went (claps her hands together) “Yes! That’s what we’re all about.” And so, I think we are an important piece of the history of this place because I feel like an archive in here, of some sort. And the Mural Project has found its home, and I think that’s an important part of being the history up here in the North County, to have a project that’s global in scope that has been participated in by over a half a million people from over a hundred countries. To land in a place that is based on what everybody should know about indigenous communities. My hope is that―and I started out with my husband and I both said, you know, before we wanted to feature different cultures, because we felt that Americans weren’t quite educated enough to understand the diversity and the richness of cultures from other people, and other countries, including this country, you know. There’s so many―and I don’t want to use the term “white”―but there’s a lot of American, white people who don’t understand that they came here from other countries as well. And in their own country, if they look back in their roots, they’ll find out that they come in different shades as well. Kallas: Mm-hmm. Tawfilis: And that the stolen land―you know, recently I watched a documentary about Alabama where the last slave ship came in and it was against the law to even bring slaves after 1860 or something like that. But it was one ship’s captain who said “I can show you how to do it, and I’m going to prove it.” And he did it out of rebellion and brought a hundred and twenty slaves from Africa, made them get off the ship, near Mobile, Alabama, and in the water, the swamp, they got on to the land. I understand they stayed there for a few weeks and then they divided them into three different plantations. But they burned that ship in that. They said they wanted to get rid of the evidence. Well, that was a genocide in and off itself, of history. And now after four hundred years or whatever, they’re finding all these remnants. You can go anywhere, even here. When we started doing the back, we found a cross in the yard that, that must have been buried in the ground from whatever was here before. And I always wondered what happened and what’s going on with all this gentrification and the new building over there. It hurts my heart. And I talked to a Luiseño member who is one of our drummers, a woman, she said “every time she goes by” and she’s a school bus driver, she said “it hurts my heart.” Because she knows there’s another thing covering it up and erasing part of the history of this place. And I’m really sorry that, you know, recently the newspaper said “the wave just got approved with the valley over there, and the rest of the valley. And I live in a place that I look at that, and I, I could cry just thinking about it. Right across the street from Pablo Tac Elementary School. They’re going to build a wave park like we need one so close to the ocean? I mean, come on. Commercialization is just really destroying the natural history of many places including right here where we live. So, I’m hoping that the owner of the properties here will never let this place become that wave even though I can see a beautiful little old town here. You know, I like to see more cultural things happen here. And I’d love to see the cultural district expand from downtown to where the real history is here. I mean, uh, it’s to me almost sinful that we don’t put more emphasis on what the history of this area, of Oceanside, is all about. It’s all on the front, at the waterfront. It’s all commercial. They even destroyed the waterfront in my eyes, by putting all that, the hotels and stuff. Kallas: Well, in trying to put it all together here, in breadth and in depth is community building. Tawfilis: Correct. Kallas: Through the murals, through the other work you’ve done. It seems to be the main theme of your life, and now you have the Center. And doesn’t it also have something to do with UNESCO? Tawfilis: Yes! We recently became the UNESCO Center for Peace for all of California and Baja. And with that I think will help enhance my opportunity and all the people that work with us to bring more cultural education and healing to this area, and to educate people about what real peace begins with me, and our neighbors and our families. And then, you know, I know this all sounds very philosophical but it’s true, you know. And, um, I think we have a pretty good mayor who supports local people more than others that I’ve seen. Maybe it’s because I see her out there in the community more than I’ve seen other mayors do. And I know that she is of Mexican descent, but I also believe that Mexicans have a lot of indigenous people here as well. Kallas: Right. Tawfilis: And when I talk about Mexicans, I don’t mean that they are the invaders of the people that took over. They too have been, you know, victims of genocide. All this belonging to part of that. But the first people here from all the history that I have been able to do my own research on, were the Luiseños. And so, my passion and dedication is going to be based on that. I am going to be looking at other cultures and introducing the people of the world to our local community through this center. But this is―This year, the Valley Arts Festival will feature my dedication to that. As I have this painting behind me. It’s kind of weird that we have this Mexican lady, native, behind me, and then my dancer, and then I am going to do a dedicated mural to the Spirit of the Valley, and to the tribal captain and a woman who happens to be his sister who I think is, in my eyes, the official historian of just about everything that could ever happen to the Luiseños here. And I feel very fortunate, um, coming from where I do, and what I did in Connecticut with the Mashantucket Pequots to see them grow and have the best museum in my eyes, in the whole world, indigenous or otherwise because it’s interactive. To be with people that are still alive that I can talk to and interact with that live right here in this community. So… Kallas: So, going forward, what, um, what other projects are on the horizon for you. Tawfilis: Well― Kallas: Besides what you just talked about, are there other avenues that you’re going to pursue? Tawfilis: Oh, thank you for asking. Because one way of documenting history is books. So, I’m writing, actually there’ll be four books that I hope will be coming from me. But interacting with other people, we’re doing, taking the murals now, what am I going to do with twelve miles of murals? My goal is to convince the Smithsonian that they need to take these, because to me it’s a visual documentation of two decades or more of history by the people and for the people. This is their words, not some author who wrote a book about the history of something. It’s from all over the world, and it addresses social issues everywhere. So, what I’m hoping to do is we have a Foundation that we’re going to be―we are part of, called the Endangered Planet Foundation, and our project will, will be embracing that and taking the mural images and trying to create practical products from the mural images and raising money through the sales of textiles and books and things like that, tangible things that can go into a fund that will keep this project going, and long after I’m gone. Hopefully until then I can help form a solid board and we can end up hiring a staff which we’ve never had, to carry on this project, because I think it’s something that can continue. Mural art has been growing all over the world. The cave men have come a long way from their images to creating murals not just on walls but on canvas and ours is mobile. I wanted to have a voice for people that could be shared, not stuck on a wall that you’re never going to― I’m maybe some people will never get to Machu Pichu or to the Egyptian temples and pyramids or caves where we have here in the United States with etchings and things on them. So, this way we can bring people closer together. So that’s the future, is I want to leave a legacy and because I know what works. What other non-profit organization can survive for almost twenty-five years with no money? I’ll tell you why. Because people believe in it, and we believe in it with all our hearts and souls. And, as nearing my seventy-seventh birthday, I bypassed seventy-five because of Covid. I think we have proof in the pudding, so, yeah, that’s the plan, is to continue. Kallas: And speaking from personal experience, I’ve actually experienced the healing process and that sense of community where we’re all working on the same thing at the same time. There’s just so much unity in that and it’s very, you could really internalize that. Tawfilis: Well you know the big―bottom line is mural art gives you a chance to express yourself even with a group, because as you know doing quilt, we do that kind of style with murals as well, in different forms or whatever. You get to express yourself individually but you do it with a group and it brings you all closer together, and in doing so you talk to each other, and the bottom line is you find out how much more we have in common than we have in differences. Which sounds like a cliché, but boy it’s true. Kallas: It’s very true. Tawfilis: We actually do it. And we make ourselves, I mean, better people because we get to know and appreciate other people’s opinions, even if we don’t agree with them. We hear what they’re thinking and feeling, and we learn a lot from each other. And I think that’s how peace is going to happen, when we begin to open our minds and our hearts to understanding that we’re different but we all have the same basic common needs. We all want to eat. We all want to be able to have a home over our heads and feel safe. And the richness of having other cultures influencing your life―it’s like if you’re only going to eat American hot dogs and hamburgers, what a boring life that would be, right? (Linda laughs) I always think of it simplistically like that because you end up going “Gee, I like Thai food. I like Chinese food. I like Italian food. Whatever.” Well, that comes from people, you know. And so, the blend and the magic of seeing the dancing from, and the music, the different forms of music, and you can be native American and play rock-n-roll music. I happen to know somebody who can do that and do it well. Or a Filipino that can sing beautiful, musical songs. Or the homeless people with the choir that was started right here from North County. I mean I think that’s a great, you know, cultural contribution to history. So. Kallas: Well, Joanne, thank you so much. It’s been an honor and a privilege to do this interview with you. And I want to repeat something I recently told a mutual friend about you, that I truly think you are a work of art. Tawfilis: Oh, my goodness. Kallas: And I just thank you so much. Tawfilis: Well, thank you. And I also want to say that I did get a PhD at the age of 71. So, my message to all those who think that you never learned and you can’t earn a degree as you get older, you’re wrong. You can get it, and mine was honorary, and I’m really proud of it now because I used to think―I’m very humble about it because I do understand how much hard work goes in to doing a dissertation. I almost got there. I could have done that, but I traveled so much I couldn’t finish. But understanding that when you do a life’s work dedicated to something, I think it’s deserved. I’m saying that today for the first time, that looking back on my career, I did earn it. Kallas: Yes, you did. Tawfilis: And I’m very happy that my, if my dad were alive and I received a big award when I retired. I got the highest award you could get as a civilian and they gave me miniature medal. It’s from the military. As well as a big one. And when I went to Arlington I put that miniature beneath my dad’s cross at Arlington National Cemetery. And I, when I got my PhD, my first trip to Washington, D.C., afterwards I went directly there, and I told my dad “Guess what, dad? You wanted me to get an education, and I got a Ph.D.” Kallas: Wow, what a great note to close on. Thank you again. I really appreciate this. Tawfilis: Thank you. (Looking off camera to someone else) Did I put you to sleep? Unknown male voice: No, that’s a wrap. GLOSSARY: Aki (pg.11,12) Ambassador Chaudry (pg.8) Americorps (pg.4) Arlington National Cemetery (pg.16) Army Management Staff College (pg.4) Artist’s Alley (pg.2) Art Miles (pg.2,8) Back Cheese (pg.9) Base closure team (pg.3) Besan (near Russia) (pg.11) Bosnian Women’s Initiative (pg.5) Broadway Pier (pg.2) Chicano Park (pg.3) Chief Joseph (pg.3) Children’s Environmental Health Network (pg.9) Colville (pg.3) Endangered Planet Foundation (pg.15) Foulad (pg.8) Friendship Program (pg.2) Gigiri (pg.5) International Atomic Energy Agency (pg.4,5) International Decade for the Culture of Peace (pg.8,9) International Intercultural Mural Exchange (pg.10) Kettle Falls (pg.3) Luiseño (pg.13,14) Mahsa Amini (pg.12) Mashantucket Pequots (pg.14) Mural Museum (pg.2) Muramid Arts and Cultural Center (pg.9) Muramid Pyramid (pg.9) National Congress of American Indians (pg.10) Nespelem (pg.3) Orange Coast College (pg.6) Pablo Tac Elementary School (pg.14) “Painting Outside the Lines” (pg.6) Peace, Unity, Healing (pg.9) Sergeant Shriver (pg.4) Srebrenica (pg.5) “Stem to Steam” (pg.6) Submarine School (pg.2) Supercolor Photo (pg.9) Tuzla (pg.6) UNESCO Center for Peace (pg.14) United Nation Environment Program, Nairobi (pg.4) Vista Volunteer Program (pg.4) https://rightsstatements.org/page/InC/1.0/?language=en 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=TawfilisJoanne_KallasLinda_2022-10-31_access.xml TawfilisJoanne_KallasLinda_2022-10-31_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 Tawfilis, Joanne. Interview October 31, 2022. Description An account of the resource Joanne Tawfilis is the executive director of the Art Miles Mural Project, which has had the participation of over 500,000 people from 125 countries to paint murals. Tawfilis and her late husband Fouad started the Art Miles Mural Project after Tawfilis worked with orphans in Bosnia, where they created a murals using the only materials available -- a 10 gallon can of white wall pain and bedsheets riddled with bullet holes. The Art Miles Mural Project is currently homed at the Muramid Arts and Cultural Center in Oceanside, California, where there are electronic displays of over 5,000 murals, art classes, music, and spoken word performances. Tawfilis has had a storied career and has worked with the United Nations Environment Program (UNEP), the International Atomic Energy Agency (IAEA), the Women of Srebrenica Project, and UNESCO. In her interview, Tawfillis discusses her career working as a civilian employee of the military, as well as her work with the United Nations, IAEA, and the Women of Srebrenica Project. Tawfilis also discusses the creation of the Art Miles Mural Project, the Muramid Arts and Cultural Center, and her thoughts on art as a vehicle for healing, empathy, and peace. Identifier An unambiguous reference to the resource within a given context SC027-052 Subject The topic of the resource Art Miles Project Bosnian Women's Initiative International Atomic Energy Agency Military base closures Mural painting and decoration Muramid Art and Cultural Center (Oceanside, Calif.) Orphanages--Bosnia and Herzegovina Srebrenica Massacre, Srebrenica, Bosnia and Herzegovina, 1995 Unesco United States. Army United States. Navy Women artists Date A point or period of time associated with an event in the lifecycle of the resource 2022-10-31 Format The file format, physical medium, or dimensions of the resource video Creator An entity primarily responsible for making the resource Joanne Tawfilis Contributor An entity responsible for making contributions to the resource Linda Kallas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oceanside (Calif.) Srebrenica (Bosnia and Herzegovina) 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. Joanne Tawfilis 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> Activists and activism Art and artists Community history North County Oral History Initiative Politics and governance Women's experience https://archivesoralhistories.csusm.edu/files/original/e6a0557324444a8c6a228b39903f5690.pdf a53157df08f2af558a0dc48546221b23 PDF Text Text JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 (Some early conversation deleted.) Sweat (00:05:30): Is this my copy or is this your copy? (Sweat referring to printed list of questions.) Downie: You can certainly have that because I am just going to let Jeff and Dande, you know, tell me what they want because that is just a list of ideas. You certainly do not have to address anything if you feel like it is giving away company secrets or you are just not comfortable or you just forget about it and tell me something else equally interesting and informative. That’s great. I love to record what I can get. So, you know, it sounds Dande like you maybe got into this a little after Greg did. Excuse me, Greg--I just said Greg. After Jeff did. So maybe we start with Jeff talking about how did he become interested in beer or how did he get into the beer industry and--? J Bagby (00:06:13): Okay. Yeah, so let's see. I started liking bitter beer, I don’t know, at high school, younger age. It just was something that my friends and I found--a couple of friends--who really liked the flavors. Liked the idea-Downie: Now, were you in this area or where were you--? J Bagby: Yeah, I was born and raised in Encinitas. So, San Diego native. Downie: Okay. J Bagby: So yeah, around here. And, actually when I graduated high school, I bought that friend in particular a homebrew set for his birthday. And so, we both messed around and that was my first homebrewing foray, whatever you want to call it. Downie: (00:07:01): Now where did you find your supplies for homebrewing up? J Bagby (00:07:03): Yeah, that is what I was going to say. So, you know, that's the age before the internet and cell phones and things of that nature. So, there is no-Downie: Do you want to give me an approximate year? J Bagby: Uh, (19)93. Downie: Okay. J Bagby: (19)92, (19)93, (19)94, somewhere in there. And, so we had known a little bit, we had heard a little bit, we had tried to go and fish beer from establishments even though we were not of age yet. But at homebrew shop you can buy anything without an ID. So, at least back then you could. So, we Homebrew Mart in Solana Beach. That's where I first met Yusef (Cherney) was actually the one that sold me the kit. Then he went on obviously to do his thing. So, kind of a cool connect there and then they kind of keep happening as time goes on. But, yeah, so we just messed around really. I mean, we re-read things, read books. Talked to brewers when we could, when we traveled, things like that. We ended up going to school together where we got more into it. We were doing all-grain batches and keeping a beer on tap at our house all the time, as well as beers like Sierra Nevada (Brewing Co.), Anchor Steam (Beer), Transcribed by Ernest Cisneros and Judith Downie 1 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 Original Pizza, Wicked, Red Nectar, some of the Sam(uel) Adams beers. I don’t, what else we could get our hands on that we felt was better. (laughs) Downie (00:08:29): Now was there a bottle shop anywhere nearby where you could (unintelligible)? J Bagby (00:08:34): There was a few. There was in Encinitas and downtown there was Cork and Keg (Cork and Keg Liquors). There was a couple in sort of the Kearny Mesa area that were known for having, you know, hundreds of bottles and typically they were not very good. But we did not necessarily know that at the time (Downie laughs) because we didn’t know what we were tasting and not tasting. Downie (00:08:51): Right. Yeah. J Bagby: I did not know that some of these beers, well, they'd been sitting around on these shelves warm for, you know, a couple of years. Some of them survived perfectly fine. And most of them, you know, like, “Oh, that's what that tastes like, that's kind of weird”. So, when we can find fresh things or more exciting flavors, that was obviously a fun thing. And yeah, just like, I think anybody did back in the nineties, when you found a new bottle of beer, you kept it, or you kind of talked about it and told your friends, “Hey, I tried this, blah-blah-blah.” It was, you know, I was rating beer before there was the internet, before there was, you know, these things that we are so attached to. So yeah, that is kind of where the appreciation started and, you know, throughout college, like I said, wherever, I would go and travel, try to seek out breweries, brew pubs, if it was possible to talk to a brewer and get, you know, whatever information I could, you know. “What kind of grain did you use this? What kind of hops are in this? What is your process for this? And, oh, what size system do you have?” And, you know, it was fun to do. And I was fun to go to cities that had older, richer brewing cultures than San Diego, you know? Back then there was not even probably ten breweries in San Diego at the time. Especially none that we had real easy access to. The easiest one for, for me, ended up being Solana Beach Pizza Port (Pizza Port Solana Beach). Just because I had met people there and met the brewers there. I went there all the time and were buying homebrew supplies from down the street. So, as it grew, you know, I finished school, came back home. I worked summers at the YMCA in Encinitas running their summer camp programs. Youth summer camp programs. So, I was heavily involved in that. But I always really liked--still liked beer. Still went to festivals and— Downie: What was your degree in? J Bagby: It was communications, social science degree. You know, honestly, I just wanted to get done in the school. It is not really my thing. Downie (00:11:04): But you completed it, so “Yay” for you. J Bagby (00:11:07): Yeah, yeah, I can say I have a degree. Whoop. (D Bagby laughs) So yeah, came back home, worked that job or some aspect of it for a summer. And then I was hoping to stay on. I’d had several--I've worked there since I was fifteen (years old). So, I had years of experience, knew the program, knew everything and anything about it. So, it was hoping, well, maybe this will be a full-time job, because the program had grown and grown and grown in the time that I've worked there. But they didn't have a position. Good old nonprofits. So, I started just looking for a job. I was living in Cardiff with some friends and I needed money. I needed something to do. So, through the YMCA, I had a commercial Transcribed by Ernest Cisneros and Judith Downie 2 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 driver's license to drive kids around, drive big old buses. So, I looked into driving jobs because they paid pretty well. And I could probably get one quick. Downie: Yeah. J Bagby: You know, the degree did nothing for me, so. (laughs) D Bagby: Well, it sounds like you didn’t really want it, too. J Bagby: Well, I mean, it's not like you go, like, what industry are you going to be like? “Yeah. I have a communications degree from UC Santa Barbara,” like there, so? How's that going to help us do blahblah-blah. There was no technology jobs. There was no social media jobs. There was no— Downie: Exactly. J Bagby: (speaking at the same time) I was, I kept going into radio or like news or— Downie: (00:12:28): (speaking at the same time) But it would have taken time to get employed, and you were saying you needed work now. J Bagby: Exactly. Downie: Which is certainly understandable. J Bagby: Exactly. D Bagby: So, think about that before we get the degree. (laughs) Just kidding. (laughs) J Bagby (00:12:36): So let's pay attention and talk about themselves once it’s their turn. (all laugh) D Bagby: Just saying! J Bagby: So anyway, let's see, let's see, oh, came across the job, driving job for Stone Brewing Company. And I remembered that I had been in Solana Beach the very first night they'd ever poured a beer and I'd met Greg (Koch) and Steve (Wagner) and tasted the beer. And I was like, “Oh, this would be great.” You know, I remember them, it's cool to see that they, you know, are still going and are making beer and need a driver. So, I just interviewed with Greg and told him my whole story. And he was like, “Well, obviously you're super overqualified. (Downie laughs) So, you know, you have the job.” And it was fun. It was interesting to see some side of the bar and restaurant and beer industry that I'd never seen before. Learning some of the weird rules that are still in laws that are still in effect today and delivered beer. Drove beer truck for three months. (00:13:40): And Steve and I were at a festival. I would always hang back after I was done and talk with the brewers and see what they were making and see what was coming on and things like that. And Steve was like, “Well, we need another body in the brewery. We need somebody else.” And I was like, “Yeah, sure. I'd love to.” I was like, “Who do I give these truckies to?” (Downie and D Bagby laugh) So I actually found the guy that took my position as a driver. And he's still my Stone rep(resentative) today. Transcribed by Ernest Cisneros and Judith Downie 3 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 Downie: Oh my gosh. J Bagby: Yeah. I still work for Stone in different capacity now, obviously. But yeah, he was a bartender at one of our accounts, he was actually at Pizza Port and he's like, “Oh, how's it going over there?” And “What's it like?” and I'm like, “Well, if you're interested, you could come check this out.” (00:14:27) He was a bartender, so he could still bartend and do that. And so, yeah, he came over and I taught him the routes and boom, he was the driver and I moved into the brewery. So, I learned there, primarily from Lee Chase and Steve Wagner. Their methods to brewing, I'll say, which I still today, I think if you ask about mentors on here, definitely those two guys are some of the first. And they gave me a lot of introductions into people like Skip Virgilio, Yusef Cherney, Jack White, Chris White, Gina and Vince Marsaglia, where I spent hours in their restaurant. Several other people that are still working in beer today, and still active. And, you know, we all kind of, you know, kind of go, “Yep, you were there,” you know, when you have these people that have been open for five minutes. (Downie laughs) Not to say it's bad, but you know, it's nice to have that kind of a bond and that kind of a connection to people that remember when there wasn’t all the things that there are today. Downie: (00:15:33): When it was a struggle. J Bagby: (speaking at the same time) Yeah, big time. Downie: (speaking at the same time) I mean, not that it isn’t a struggle now to run a business and to start having all that, just to be in the first, the forefront of things. J Bagby: Oh yeah, there used to-Downie: There is still some special barriers. J Bagby (00:15:47): When I was living in Cardiff, in driving for Stone and then actually working in the brewery for Stone, we would go to events like every weekend. Every Friday and Saturday night, you know? Because the sales reps are like, “Hey, can you guys come down and help promote?” Or, you know, whenever we went to somewhere and be like, “Hey, do you have Stone beer on tap?” And they'd be like, “What the hell is Stone?” (Downie and D Bagby laugh) You know, and now you can't find somebody that doesn't know what that is. Downie: Right. J Bagby: And back then, it was totally different because people weren't paying attention. People didn't care. There was five tap handles and all five of them are taken up by mass-produced beer, you know? The Heinekens, Amstel Light, Guinness, New Castle, Bud, Bud Light, Coors Light, Miller Light, not Corona, it wasn't going on tap back then but it was in the bottle under the bar. So, it was tough. It was tough for them to gain ground and getting space. And because they came out with a Pale Ale, they were in an immediate competition with Sierra Nevada Pale Ale, which had already, you know, been around for ten years at the time. So, you had that battle. You have this well, “What's, what's different from you? These guys have been doing it for a long time. They make this Hoppy Pale Ale. We've had it on tap. What's the difference?” So yeah, a lot of early struggles, a lot of, you know, almost telling--I like to say this, like Stone told people what to drink. When they came out with a beer like Arrogant Bastard and they came out with a beer like Stone IPA, and it came out with Smoked Porter that came out with these beers that Transcribed by Ernest Cisneros and Judith Downie 4 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 no one was used to drinking and they were like, “No, you're going to like this, because this is what we have to offer. (00:17:15) And people would taste it. And I think combined shock, new flavors, new tastes, things they'd never had before, they really grabbed onto it. And they were like, “No, this is, this is cool. I really like this.” Not necessarily knowing why or knowing what about the beer that they were actually tasting. Just that it was exciting and it was new. So, I learned to brew on that, (laughs) professional thirty barrel, professional brewhouse pretty quickly. Helped create the first Stone Barley Wine, Old Guardian. Lee and Steve and I each did five-gallon test batches. And then we, we tasted them all and created a recipe. So, that was fun. And few anniversary beers, you know, when they were taking Stone IPA and Double Stone IPA and Triple Stone IPA for the anniversary beers. Those beers just blew people's minds back then because no beer had had that kind of aroma and power on the hop side, you know? (00:18:20) And they're not unlike a lot of West Coast IPAs that are still made today. So that was exciting. The Y(MCA) came calling somewhere in that first year, year and a half that I was in the brewhouse. I got hired at Stone in September of (19)97. And I worked there through sometime in (19)99. Okay. I'm trying to remember exactly when, but I did go back to the Y full-time because they actually have a full-time job for me and they needed the help. So, over the summers I would work a hundred-plus hours a week because I’d work a full-time job at Stone Brewing. And then I would go back over to the Y and help them with everything that they needed for the next day or for the next week of things I hired and trained. Yeah, it was crazy. Monitored staff, bus drivers, all these things while I was still working at Stone. (00:19:13) Left Stone to do the Y thing after one of the summers, because I was like, oh, it's too much. And they were going to give me a little bit more money at Y. So, I went and did that and then got stomped on over there. Got passed over. And I was like, “You know what? I'm done with this. I've given my life to you guys and saved you guys several summers and I'm over it.” So, went back to beer, got hired at White Labs (Brewing Co.) in San Diego. I had known--by this time I had known tons of people in the industry. I had done festivals for Stone. I had worked for them in all sorts of different capacities and also knew the Pizza Port people really well. Downie (00:19:54): So what year--when did you get hired on White Labs? J Bagby (00:19:58): That was probably (19)99? Downie: Okay. J Bagby: (19)99, 2000? I can’t—I’m not positive on that. But somewhere in there. Because I definitely left--I left both the Y I think the--right before the 2000 summer started because they had made some really bad decisions and it bothered me. (Downie laughs) So, let's see. I worked at White Labs for-Downie: As a brewer? J Bagby: No, as a sales kind of yeast consultant. Answer questions for people, take orders, you know. Downie (00:20:34): Was this at their--where they are now? Candida Street or--? J Bagby: (00:20:38): No, this was the location before that. (Silverton Avenue, San Diego location.) Downie: Okay. Transcribed by Ernest Cisneros and Judith Downie 5 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 J Bagby: A little--it's kind of an interesting place like offices on front, warehouse in the back, but much, much smaller than where they are now. Downie: Yeah. J Bagby: (00:20:50) But it was cool. It was definitely educational. It was neat to get to know Chris and Lisa (White) better as well as one of their other then-partners, Chris Mueller. I had already known all of them and met all of them so, it was kind of nice to get a job and work with them. And it was okay. It just wasn’t--it wasn’t exciting for me. And I wanted to get back into the brewhouse and I wanted to get back working with actual beer. So, kept in touch with Pizza Port and the people there, the whole time. I got hired at Solana Beach as an assistant brewer. And so, I was an assistant brewer there and bartender there-Downie: And who was head brewer at the time? J Bagby: Tomme (Arthur), at the time. But we had become friends, gosh, right after he got hired there because I knew the brewer before him. And then they're like, “Oh, that's the new brewer.” So, I just like introduced myself and said, “Hey, I really like these beers here and blah-blah-blah” So we just got to chatting and hanging out and doing all sorts of different things. And you know, even when I was working for Stone, we connected just because it's, you know, another brewery in town. (laughs) And back then— Downie: (00:22:00): Well, it shows the value of networking— J Bagby: Yeah. Downie: And knowing people, it makes a big difference. J Bagby (00:22:06): There's also a way to learn back then, you know? Steve and Lee were great and taught me a lot, but also learned a lot from Tomme. And I also learned a lot from a ton of other breweries that I met back in the late nineties and early two thousands. All across the state and even into Arizona. The guys at Four Peaks (Brewery Co.), still good friends of mine, even though they sold their company for who knows how much, they won’t tell anybody. (Downie and D Bagby laugh) (00:22:30) Places like Marin Brewing (Company), Anderson Valley (Brewing Company), Russian River (Brewing) now, when he was still in Temecula back then. Downie: He was Blind Pig (Brewing) back then. J Bagby: Yeah, I had met him (Vinnie) and Natalie (Cilurzo) back then. Untold numbers of, you know, going to the Great American Beer Festival (GABF) for the first time was probably my biggest eye-opener to all of that and meeting more and more people because now there was the whole U.S. and all the brewers in the U.S. in one room and back then it was easy. You could go and talk to people. I was working for a brewery at the time and that was 1997. It was my first GABF. And I'll never forget going up to people and trying beers and went, “Oh my gosh, that's awesome,” you know? And just making that acquaintance. And I know a lot of those people still today that I met that year at that GABF. So really cool stuff. (00:23:29): And that just kept building, you know? Every time I could go to a conference, every time I could go to another out-of-town festival. Meet more people. (laughs) So, you know, at Solana, I was there for probably two or three years doing assistant brewing and bartending. And then a Transcribed by Ernest Cisneros and Judith Downie 6 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 position opened up. I had met Tom Nickel through all of this too. Because he was good friends with Tomme. He was a part of the early Ballast Point (Brewing Company) and Home Brew Mart. Tom and I are still very good friends today and Tomme. And so, he said, “Hey.” He was working for Stuft (Pizza and Brewing) at the time before it was Oggi’s. And then when it became Oggi’s, they had one in Vista that opened, their brewer was leaving. And so he's like, “Hey, if you want a head brewing job,” I was like, “Hell yeah.” (Downie and D Bagby laugh) (00:24:19) So, took it. I had interviewed with a couple others. It was just, well I interviewed at Kona and just decided I didn't want to go and live on an island. (laughs) So, and there was an opportunity in my backyard, so, why not take that? So, did that for a while. That was fun. That was really the first time I got to see my influence on brewing, make a difference for somebody's beers or somebody's restaurant or somebody's beer culture, you know? It was the first time I'd won medals on my own with my own beers. You know, we'd done very well on Solana Beach. But this was cool because it was like my stuff. And worked with Tom (Arthur). He became their corporate brewer for a short time up in San Clemente. And I worked at that location for a while until Pizza Port Carlsbad had an opening for a head brewing position and that was a bigger brewhouse. (00:25:14) That was more beer and it was more money and it was Pizza Port was kind of my first forte. So, I went back to that and ran, within a year, was running all the brewing operations on all of their pubs. Helped them open Ocean Beach. Hired, trained, promoted a ton of different brewers who are still in the brewing industry today. Yeah, you’ve got Yiga Miyashiro, the head brewer at Saint Archer (Brewing). Greg Peters, who's the head of Barrel Program there. Ignacio Cervantes, who was the head brewer of Carlsbad after I left and then took over (Pizza Port) Bressi Ranch and is now working for a new company in San Diego (Chula Vista Brewing). Noah Regnery, who also part of that company and Brandon Edwards is also a part of that company. (00:26:05) All guys that were head brewers at Pizza Port went on to several different breweries and have all kind of come back together in one way. I'm sure there's other people. (laughs) Downie: Yeah. J Bagby: But it was a good experience and, you know, going all the way back to my Stone days, you know, Lee and I worked in this warehouse by ourselves, you know? Day in, day out. So, you get in these conversations, you're running, you know, a four head making bottling machine for eight hours while you're filtering a beer, you know? Like, you know? You are brewing, you get into conversations and you know, both of us were like, “Yeah, I really would like to own my own place at some point,” you know? And my thoughts at that time were, I'd really like to just have a beer bar or have a place because I've enjoyed that aspect of it. (00:26:54) I enjoyed teaching people about beer, telling people about new styles and new things that were coming out or that the Pizza Port had just come out with. So, I said, “I don't know what, I just really want to my own place. And Lee was like, “Yeah, me too, me too.” So, it's funny that both of us have had that come trueDownie: Yeah. J Bagby: Over time. But in the Pizza Port years, having, you know, kind of pulled from my YMCA experiences with hiring and training people and building sort of a management approach to running the bars at the Pizza Port, they were, for lack of a better term, they were pretty chaotic and not very well managed. And the companies were, even though they were making money, hand over fist, they weren't making as much as they could because they were losing money, hand over fist because of their bar staff. 00:27:41) So, I tightened up that. I taught their bar staff and what, you know, beer education programs, you know, you had to spend a day in the brewery with me, all of these things. And that carried on to all of the locations. And in doing that and forging that, that's when, you know, I started having Transcribed by Ernest Cisneros and Judith Downie 7 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 conversations with Dande. We had met and I showed her--actually I was still working at Oggi’s when we met. And, you know, started talking about, well, “What do we want, what do you want to do with this? What would you do with this?” And I was like, “Oh, I want to open my own place.” And it was funny because people would come in while I was brewing in Carlsbad, say, “Oh, we're going to open a brewery.” And I was like, “Oh, cool.” Well, this is, you know, “I've been doing this for a really long time and I'm not ready yet, but you know, good on you.” Or somebody would come in who had just opened a brewery and I'd want to help support them. (00:28:32) So, we had guest beers at Pizza Port, we would put their beer on tap and, you know? I would talk it up and everything. And then it was funny because by the time I left Carlsbad, I didn't have that approach. I was like, “Okay, bring your beers in and then I'll taste them and we'll see what we can do.” Yeah, “We'll give you some feedback or we'll see if we can get you into rotation or not,” you know? We have a big board, there's a ton of trends, and there's a ton of spots. They're almost always taken whatever the case was, but I wasn't as eager to just blindly accept the keg as I had been in the past, when there was, you know, “Let's promote local beer and let's get this scene going.” And it transferred all the way into here because now there's even more breweries. (00:29:15) But now that I'm one of those people that's trying to sell beer to people. (laughs) D Bagby: Yeah. J Bagby: It's always so-- I get it. And, you know, hopefully, you know, the things that we had talked about before we opened and the things that we wanted to do is largely what you see today. When you come here and it's not just a beer aspect, it's a food aspect, it's a space and feel. It's also our cocktail and spirits program, wine program. All the things that we do here are things that we talked about ten years ago. Of course, it took us a very long time to get to that point. And I think we've surpassed many mountains in that process of getting to where we are, which is something that feels really good. But it's also a constant struggle when there's, you know, things that we deal with every day. (00:30:09): And somebody asked me the other day, “Oh, would you go back and do it again?” Yeah, I would. Hopefully I know a little bit more. (all laugh) As Dande was talking about earlier with managing the construction, but it's been a crazy, crazy road. It's been fun to have been a part of San Diego beer, to have kind of put my efforts into not only just promoting the people that I worked for, but training other people into that and, you know, really teaching and promoting what good beer is and making sure that I did everything I could to make sure that San Diego was seen that way and perceived that way across the country and across the world. And I believe that I still do that today, even though there's one hundred and fifty or what odd breweries in town. I still make my efforts to make sure that that happens if that makes sense. Downie (00:31:07): Yeah, it does. J Bagby: Cool. Downie: So, what made you decide to basically take down Continental Motors? (J and D Bagby laugh) What made you decide on taking this piece of property and rather than taking over-J Bagby: Good question. Downie--a building that you could just kind of refurbish? J Bagby (00:31:25): Yeah. Well, I kind of still ask myself that question a lot. (D Bagby laughs) D Bagby: Depends on how good the day is going. Transcribed by Ernest Cisneros and Judith Downie 8 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 J Bagby: That 3,000 square foot warehouse looks pretty cool somedays. (laughs) No, we had a location in Encinitas that we were pretty fond of. I wanted to be the first person to make beer and Encinitas since there was one little tiny spot that was open for like nine months in downtown Encinitas called the Red Kettle. D Bagby: The (19)80s? J Bagby: And it was like (19)89 to (19)90, something like that, I think it was open. And sounded like the guy didn't know a whole lot about what he's doing. And it would be interesting to see if you find any more information on that. Downie: There’s very little on the Red Kettle. I’ve been looking. J Bagby: (00:32:07): There's like one article you can still pull up online. Vince Marsaglia, I remember he'll tell me stories. He's told me stories about going in there and talking to the guy about brewing. But anyway, I wanted to be like, “No, I want to open up a brewery and want to, you know, it's not going to be a restaurant with the little kid in the back.” Like, yeah, I want to do that in Encinitas ‘cause Encinitas neighborhood made it look cool there.(32:30) But building situation fell through. We had spent some time, even some money getting people together. We had met with everyone at the city of Encinitas. So, we knew it was going to be a bit of an uphill battle with what's going down there on the Coast. It was on Coast Highway in Encinitas, big, beautiful, gorgeous eighty-three hundred square foot building with a wooden barrel ceiling and twelve-foot brick walls. Gorgeous place. (00:32:58) And the landlord--we had never actually spoke with the landlord. We had only spoke with his representative and he had edged us along the way. “Yeah, that's good. It's good. Yeah. That's no, he's, he wants to do this.” And we put in our LOI (Letter of Intent), you know, spent, like I said, I spent time with the city. This is what we're thinking about doing. Architects, all sorts of things. Structural engineering, because the building's old. It was an old Safeway or something, I think. D Bagby: (33:23) It was a grocery store. J Bagby: Yeah, it was a grocery store at one time. That's why. And all of a sudden we just weren't hearing anything back from the rep. So, I just called them up and, “Dude, what's going on?” Like we were going forward, we think this is happening. We've heard nothing. And he just basically said, “No,” without, you know, I tried to reach out to the landlord. (00:33:48) The owner said, “Hey, just meet me. Just--let's have a conversation.” Could never get there. And from what I hear, that guy's kind of a maniac, so I'm kind of glad we didn't get in that situation. (D Bagby laughs) But I do miss the idea of being there in that building and being in Encinitas. I think that would have been really, really cool. But-Downie: As a hometown boy. J Bagby: (34:12) (laughs) But, we took that setback. Or, yeah, it was a setback, because we were, you know, not that we'd put all our eggs in that basket, but we definitely— D Bagby: (00:34:25): Several months. J Bagby: But, yeah, we spent several months of time on it. Transcribed by Ernest Cisneros and Judith Downie 9 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 D Bagby: We kind of mentally moved into it too. You start to really put yourself there and how to Jeff, as you mentioned earlier, like, we had been talking about these ideas that you now see here for a long time. And so, you start to sort of layer those ideas over the space and figure out how things might go. And, it was really--it was a huge disappointment. J Bagby: Yeah. D Bagby: But we got over it pretty quickly and moved on and... J Bagby (00:34:51): Yeah. So, we decided to, not to stop, but to kind of regroup. We got married and after we got married, we decided to enlist the help of a commercial real estate. So, we, through some friends we found a really good broker. And he gave--started just giving me--I met with him--he gave me no less than I think a hundred properties throughout the county to look at. And we had already found out a little bit on our own through some other connections, you know. Basically, no one's going to give you any cash. If you're in a strip mall, you're going to be paying even though, your rent might be lower, you're going to be paying other fees that make that rent go back up. And they basically only take national conglomerate stores that have very, very deep pockets these days. Not too many private strip malls out there taking breweries and first-time owners and let alone, “Oh, you want to open a restaurant and a brewery? Okay, yeah. High risk, high risk. No, don't do it, all those things.” (35:49) So, we sought out to find private owners and properties that started to fit what we what we had or what we wanted on there, which was coastal North County, enough space for a restaurant, enough space to have a decent sized brewery, and a space that will allow for indoor-outdoor dining. We love the aspect of letting people or giving the people the opportunity to eat outside in this gorgeous weather that we have almost year-round. So, I'd never thought about Oceanside, but I knew that anything in between Del Mar and Carlsbad was going to be extremely expensive and extremely difficult to find. Especially for the uses that we wanted to do. You know, we were trying not to have a conditional use permit. (00:36:38): We're trying not to deal with the (California) Coastal Commission. We're trying to get into a spot where we could build or remodel, I should say, for the most part. Downie (36:47): Yeah (laughs). J Bagby: But pretty much ended up re-building. If you saw what we did to this place before we rebuilt it— Downie: Yeah. J Bagby: We basically tore it down. Anyway, he gave me a list of seven, eight properties in Oceanside here. So, I just grabbed my camera, my notebook, and my bike and rode them all. And I came across this one and it was--you could go all the way around it, but you couldn't see much. Where the brewery is now, were solid roll-down doors. It was their maintenance garage. Up front was a showroom, so, I could look in the windows there. That building to the south, you can kind of look in there too, but you couldn't tell what was exactly going on over here. (00:37:28): You can see a little bit, all closed, looked like it had been, somebody had moved out. And so, in my head it just started clicking and I'm like, “Oh, what if that was there? And what if we put, you know, the brewery in here? What if we did this here?” I took, I don't know, fifty pictures of the place looked at the other properties and went home and told her. I'm like, “I found it.” And she's like, “What are you talking about?” Transcribed by Ernest Cisneros and Judith Downie 10 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 D Bagby: You actually called me from the space. (J Bagby laughs) J Bagby: I’m like, “It's an old car dealership.” She’s like, “You're fucking insane.” I’m like, “Get in a car, come down here.” (all laugh) D Bagby: It’s basically what happened. J Bagby: (laughs) So, yeah, we just kind of went from there. We told our broker, “Hey, can you, you know—" super sensitive about contacting the realtor—realtor rep, landlord, anything like that. D Bagby (00:38:14): Because of our experience in the industry. J Bagby: Yeah. D Bagby: We wanted to make--just kind of proceed cautiously. And we did not have our hopes up. We had no idea what they would--what their response would be to any kind of inquiry. J Bagby: (00:38:21): We obviously originally thought that they wanted car dealerships to take it over again. Just because they were set up that way. They have the lifts, they had the excess parking. They had, you know, frontage on South Coast Highway. There's seven other places, you know? So, we thought that's what they were going for. And they originally, they kind of said, “Yeah,” because use is that, it'd be easy for their somebody to just take it over. Downie: Right. J Bagby: And a couple of inquiries they had because the space was so big and nobody wanted it all. They would want just that building or just the parking lot, or just part of this main building, main parcel. So, I said, “Well, we're kind of interested in all of that.” (laughs) And so anyway, the original conversation with rep-between-rep, the idea of a brewery got brought up by the rep from here and unsolicited-D Bagby: By their broker, yeah. J Bagby: Unsolicited from our broker at all. (00:39:20) And I was like, “Yes. Okay, cool.” And so, I'm like, “Hey, can we get in it? Can we look around and see what's going on?” So, the very first day we came to look at it and the landlords was here, the owners were here. And they wanted to meet us and they wanted to hear about what we wanted to do. And if we thought the space would work. And they're still friends of ours today. They still come in here and eat. His father was from Bamberg, Germany, which is a huge brewing scene in Germany and malts. There's two big malt companies in Bamberg. Then I said, “Well, I buy malt from Bamberg.” (Downie and D Bagby laugh) So, we had this, you know, this back and forth. Their son is into beer. And he really liked the idea of the legacy of the property that his father had started going into another family business of some kind. I think that probably in the end was what attracted them the most to us. But we poured our hearts out like, “Hey, this is what we want to do. And we totally get it. Like, you know, we've never opened a business. This is a huge spot. We have to raise a ton of money.” All these things, but we really want to do it.” And they went for it. D Bagby (00:40:34): Much to their credit, honestly. Transcribed by Ernest Cisneros and Judith Downie 11 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 J Bagby: Yeah. D Bagby: They took a big risk on us. And, it's a big point of pride for Jeff and I-J Bagby: Definitely. D Bagby: (40:41) -- to count them among legitimately among friends. And, we're just, we're so grateful to them for just being open-minded. It was their family's business that was here and then that they had to close and they still own the property. And they, you know, we have a long long-term lease and several options. So, we don't own the space. I'm sure the property will stay in their family forever, which I think is fine. It's perfect. But they just really--they were very interested in us as people and-J Bagby: Yeah. D Bagby: (00:41:13): --what our vision was and what we wanted to do and how we wanted to do it. And I think that aligned, even though they're totally different industries, it really aligned with their values. And, yeah, much to— Downie: Their European background. D Bagby: Yeah, definitely that that's probably part of it. (laughs) But I remember when they finally agreed, it was sort of like, obviously it's exciting, but it's also instantly terrifying. Downie: Yeah. D Bagby: You don't--And we didn't even realize at the time what we had just done, I don't think. (Downie D Bagby laugh) J Bagby (00:41:46): It took me six weeks to get the lease exactly where we wanted it. D Bagby: At least. J Bagby: And it's like, I think it's sixty pages of like, eight, nine-point font. It's like line-by-line and you just, you have to know, “Okay, what does this lawyerese mean?” And then go and read through and go, “Okay, no, that's what we don't agree with. Here's the change we need,” you know? And so, we just-the back and forth, back and forth, back and forth. And then we start with contractors interviewing contractors, and that is a whole fiasco in and of itself because they're intense. And they realized that in the end, throughout this thing, I think they realized that their relationship is never going to be a great one, just because of the nature of the industry. D Bagby: It can’t. J Bagby: It just can't. There's too many variables and there's too much money and there's too much time involved for--I've never met anybody who was like, “Yeah, I loved my GC. My project went amazing.” They're full of shit. Transcribed by Ernest Cisneros and Judith Downie 12 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 D Bagby: It’s like a disposable relationship in a weird way. J Bagby: Yeah, you just-D Bagby: You need them, they you need but then it's over and we're done. We don't want to see you again kind of thing. It's terrible, but that's just kind of the nature of it. Downie (00:42:53): Now did your general have any background in building a brewery? J Bagby (00:42:55): (speaking at the same time) No, in restaurants. D Bagby: (speaking at the same time) In restaurants. J Bagby: Yeah, restaurants, and commercial or retail. But mostly restaurants and bars is what we were attracted to him for. D Bagby: Small company also-J Bagby: Smaller company. Had the reputation of being able to do something like this D Bagby: Had worked with the architect— J Bagby: Yeah, he had worked with our architect on a project before and yeah, I mean the architect firm went down in flames pretty quick. (D Bagby laughs) I realized, oddly enough, we got an apology email from him last week, which was-D Bagby: A little late. J Bagby: Frustrating two years later. But, yeah, they just weren't equipped and we didn't know that they weren't equipped. D Bagby: We didn't know enough to know that. J Bagby: Yeah. And then, you know, I spent countless hours going to the counters at the city to talk to the engineers, to talk to the-D Bagby: The building inspectors. J Bagby: The building inspectors and just going back and forth. “No, we need this. Okay.” So, because I'm trying to facilitate--we're trying to facilitate this project and keep it moving. (00:43:57) And there's obviously no one in the world has any incentive, but, or the most incentive than us to get it done. And so, we're just, like she said, we just took it on. We project managed, we--every day, we'd come here and walk through and see what was done wrong or what hadn't been done or why isn't, so-and-so working today, you know? And part of that was on the GC, part of that was on their architect, and they both fell down. The architect first and then the GC. We went through five superintendents here on our project to the general contractor. Transcribed by Ernest Cisneros and Judith Downie 13 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 Downie: Oh dear. J Bagby (44:30): And by the end I was like, “Him or no one else.” And so, we got this last guy just to get through and get our building final then and everything. But you name a discipline, you name a part or a section or a wall. I spent time on it. She spent time on it. It's--so now, you know, we're like, we're telling them, we're like, “You guys get to go, you guys get to pack up your shit and leave.” And we get to turn around and actually do what we wanted to do six months ago, or, you know, a year ago. D Bagby: When we started construction, yeah. J Bagby: Yeah. D Bagby: (00:45:07) When we thought we’d be done, especially. J Bagby: We, you know, we need to spend time on--I mean, we're still taking on investors, but we have to start the project. We're still searching out for investors. We're still trying to find our key executive management team and how the hell we're going to run this place. I'm still trying to figure out how to get the rest of the brewery finished off and actually making beer because we didn't want to open without our own beer. And it was just, you know, just kept on, I didn't, I think I lost forty pounds and that last like six months of the other projects before we opened, just because I could never eat, I could never sleep. And I was constantly doing something on a project that sent my stress levels through the roof. So, it was very-D Bagby: And then you get to operate your business. J Bagby: Yeah, and then you open and you know, there's five hundred people here on a Saturday and they all want food and beer. Downie: Excellent. D Bagby (00:45:53): Which is great, yeah. I mean, there is that question. I mean, you just, you don't know until it happens when you open the door for the first time. Is anybody going to be here? And I know that sounds ridiculous when you think of the size of this and even just people curious. Obviously, there will be people that are curious that are cruising by, but you really don't know. I mean, it is, you don't--you don't really let yourself think that because you can't. You just have to continue to stay true to your goal and your vision. And once you start, you can't stop. I mean, it's go time. And so, when you do finally open the doors, it's amazing. It is. It's kind of amazing that people are here. And I remember the first, like week we were open, it felt really strange that there were people here I didn’t know. (00:46:37) I was like, “Who are these people? Oh, shoot. They're supposed to be here. That's right.” (Downie laughs) It was just very weird. And we had spent so much time here over the, you know, proceeding two years that it was--it was home. We were here three hours to one, the number of hours, or four hours to one, the number of hours we would spend at home for sure. And so, this was home. And so, we knew every contract, we knew every subcontractor. We knew everybody. And they knew us. And so, when it was time to let strangers in, (laughs) it was weird. But, you know, you get over that pretty quickly. J Bagby: Yeah. Transcribed by Ernest Cisneros and Judith Downie 14 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 D Bagby: Because they are spending money. Downie (00:47:14): Of course, talking about the ‘curious’ issue, are you going to come back? D Bagby: Yeah, of course. Downie: Because just a one-time visit isn't going to keep you going. D Bagby (00:47:21): That’s right. Yeah, that's right. And that's still something that's, you know, on the operational side that we are always striving for. We want to be that place that people are like, “I can't wait to go back there.” We're still young though. And I that's the counterpoint to that is first of all, never stop trying. I mean, there's always something we can do better, always something we can refine. Always a better way or a more efficient way or a way that's going to make our guests happier. So, we are always pushing. We never, ever stopped. And I don't think we ever will. That's just our personalities. And luckily, it's the same--those personality traits are reflected our management team. So, they all feel the same way too. There's absolutely nobody on that team that is not completely there with us. Ready to just keep pushing and pushing and pushing. And our staff, it goes all the way to them. (00:48:09): The people that are attracted to a place like this to work here. They, you know, they like that it's family. They liked that it's unique and different. They like that we're always pushing the envelope, trying to come up with cool new things or new ways or whatever the case. And so, it starts to draw in people who are naturally attracted to that. And so, they have a really kind of an inherent flexibility that is critical, but we couldn't have scripted that. I didn't really realize that, but it is true. We are--we ask a lot of them. We ask them to be very nimble and to do something very different one day than they did the day before, because we're trying to— J Bagby: Sorry, I’ve got to go downstairs and talk to them for a minute. D Bagby: Okay. Downie: Okay. J Bagby: Okay, I'll be right back. I got to set up a potential account with some tasting. D Bagby: Doing some tasting. Do you want to bring them upstairs for a taste? J Bagby: You did ask a question and that was what attracted us to this? Just going to finalize that and say the space. (Downie and D Bagby laugh) D Bagby (00:49:09): Yeah, the space for sure was the deciding factor. But when he called me from here and I've told this story before, and he said--I asked, you know, the data, like, how big is it? What's going on? And when he started to rattle off the statistics, I'm like, in my mind, “There's no way this is going to happen. (Downie laughs) There's no way.” And then every little hurdle you cross over, you knock that domino down and then pretty soon you're signing your lease. And it still doesn't really feel real until then. And then even then it doesn't feel real until— Downie (00:49:38): But you've been disappointed once already so-- Transcribed by Ernest Cisneros and Judith Downie 15 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 D Bagby: Yeah. Downie: So it was kind of like you don't exactly want to get too invested— D Bagby (00:49:44): Once you sign the lease though, and you are a personal guarantee on that. It's yours. And so, then it's like, what do you do with that? Because there is a certain amount of money that if you just--even if you decide to never do anything with it, you're paying on your own personal account for that. So, and we knew that it was a big risk of the landlords, the owners. We knew that we wanted to not disappoint them too, as another layer in all of this. But I really didn't believe it was going to happen until it started happening. (laughs) And then the train was going and there was no stopping it, which is good. Downie (00:50:16): Yeah. So, what about your background, Dande? As far, as you know, you said you worked in a Fortune 500 company. Well, what's your path that got you here? And to actually be supportive of something that you could have very easily said, “No, I don't want to do this.” D Bagby (00:50:31): Yeah. I still do say that sometimes. No, I'm just kidding. No, my background is really weird. But somehow it all sort of feeds into to all the things that we do here. So, I worked in restaurants in high school and a little bit in college. I ended up working for a very small sort of family-run or just a couple of friends started the small kind of Mexican food chain. It was a kind of a spinoff from the Rubio’s chain. So, they had helped Ralph Rubio start Rubio's and they started their own thing. And so, I, you know, started working there my first restaurant job and worked my way up into management. And I'm still friends with the owners of that. They've since sold it all off, but it was really exciting to be a part of a small, very small and growing company. (00:51:18) When I first was hired by them, they had one location. And then ultimately, I think they had seven or eight. Not when I worked there, but at the end of the sort of end of the line for them. And what happened though, was that they set the bar really high. I mean, they treated this little single location, you know, eight hundred square foot taco shop. They treated it as though it was a corporate--very, very organized, very dialed in, very high-quality, high standards when it came to customer service and food service and all of that. Even though it was a walkup counter. So that was my only exposure to restaurants was that. And so, it really, it changed how I saw things, whether it was from a business perspective or from a restaurant perspective. And that was sort of, that became my benchmark, for how to be. How to be a manager, how to be managed, how to treat employees, all of that stuff began then. (00:52:17): And it was my first real job was there. And I worked there for many years while I was--and then I went to school--my degree is in biology from Cal State San Marcos (California State University San Marcos). Downie: My goodness. (laughs) D Bagby: Yeah. So, I was a molecular cell biology major. But, before that, I wanted to be a zoologist. So, I started at Palomar and my very first class, my very first semester of college at Palomar, was as zoology class. And it was just life science, check the box, get that out of the way. And I fell in love with it and it was everything. I loved it. It was--my instructor was amazing. I don't think she's alive anymore. Dr. Jessup was her name. And she was a genius and I just wanted to absorb a hundred percent of everything she could teach me, I wanted to learn it. (00:53:07) And so that kind of led me-- I worked for the Zoological Society of San Diego for about seven years. So, I left restaurants and did that and finished my degree at Cal State and left. And I taught biology and environmental science at the high school level. I Transcribed by Ernest Cisneros and Judith Downie 16 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 taught labs--biology labs--at the junior college level for a few years. And then ultimately worked for SDG&E (San Diego Gas & Electric Company) in their Environmental Science Department. And, that's about when I met Jeff. So, I had done all of this sort of teaching and I hadn't worked in a restaurant in a long time. And when he and I first met, he had, like he said, he had beer on tap, both at Oggi’s in Vista where he had been the head brewer and at Pizza Port Carlsbad. And I had always liked beer, but I knew absolutely nothing about it. It was completely foreign to me. I didn't even--it didn't really occur to me that it was something that you could learn about. It just sort of was a thing that existed. And of course that's--couldn't be more wrong (Downie laughs) even then in 2005, even then. And so he's like, “Well come and let's taste some beer at in Vista.” So, we went out there and he just did the tasting, not a flight. I mean he pulled--we had tasters of every beer that was on tap. There must've been a dozen beers or more. And he kind of just lined them up how you would want somebody to kind of learn about beer. And he just was like, “Okay, what does it look like? What does it smell like? What does it taste like? Where do you think that's coming from? What is that? Did you do--?” you know? I remember specifically the hefeweizen he's like, “Do you think we added anything to make that taste like that?” And I was like, “Well, yeah, you probably added some fruit or you added some spice.” And absolutely not. Just from the yeast, and that tied into my biology background. Downie (54:58): Right. D Bagby: And understanding sort of a little bit about, you know, yeast chemistry, yeast metabolism. And then it started to click. I was like, “Okay, this is cool.” And then of course that led into ales and lagers and how they're, you know, metabolized differently. And all of the life cycle and all of that stuff. And so that really kind of itched, or what do you say, like “Scratch that itch” or whatever that science-y stuff. I really, really appreciated on the cellular level, which I had kind of departed from working in environmental science. (00:55:32) So, that was a really huge eye-opener and that was kind of it for me. So, we tasted through all the beers and that created this sort of framework for me that I still rely on today. That's just sort of styles and, you know, parts of the world. And, you know, this is like this. And that's like, you know, whether it's hops in English IPA versus an American IPA and why and how, and, even just the physical I'm like, “I don't know what hop is. I have no idea.” So, he went and he grabbed a handful of hops and was like, “This is what they are. This is what they smell like. This is what they look like. This is where they're grown.” Of course, that led into hop harvest. And that led into fresh hop beer. And I remember specifically that season going down to-- because he still was bartending. (00:56:17) So, he had, he left Pizza Port or--excuse me, he left Oggi’s and Vista and he was head brewing in Carlsbad and he was still bartending at Solana Beach. And I lived in Cardiff at the time. And so, I would go visit him on his bartend. I think he would work Wednesday nights and same thing. He'd be like, “Well, taste this, have a taste of this.” And I specifically remember fresh hop beers that season because it was unlike anything I'd ever had before. They were--it was just amazing to me. It was this bouquet of--it really tasted like drinking flowers. And that was really exciting. So, every new experience was just something to be learned. Unlike Jeff, I loved school, I loved being a student. I loved studying and I still do. I still love to learn. So does he, but even in that, even in an academic setting, I loved at all. (00:57:05) And so it created this never-ending quest for information and knowledge and then that tied into experience. And so, when we would travel to whether it was in California or abroad or wherever, it creates this sort of, I don't know, structure, if you will. This kind of map or pathway for learning that, you know, whether it's about people or history or the ingredients and where they came from. And so that became, it became a passion of mine as well. And this was pretty close to right away. So, you know, within the first year or so of us dating, you know, we were going to events, we were traveling for beer. We were, you know, it just became part of our shared thing. But also, I loved learning from him too. And, yeah, and he's right. Transcribed by Ernest Cisneros and Judith Downie 17 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 (00:57:57) We started talking about opening a place, or that he wanted to open a place, pretty quickly. I mean, it was certainly not something that was going to be happening anytime soon, but it was again part of the discussion. And so, when you're traveling somewhere, you're going--his family, his father's side is from Northern Arizona, Prescott. Little town called Prescott. So, you know, we were traveling out there once or twice a year to visit his grandfather and kind of hang out and there's Prescott Brewing Company. So, we'd go there and just kind of talk about whether it was the beers or the styles or the hop choices or whatever to--do you think how’s the service? Is that are--what would we do differently? What about the glassware? Does this seem right? And--or how's the check presented? I mean, everything, it just became part of the fabric of what we talked about. And, yeah, that lasted and it's still true. It's still true today. And we go places and we look at how just the, how the operational side, how people are solving their own problems and you know, are those things we can borrow or are they things that we would never do because they don't fit with who we are. So that's how, that's the weird biologybiologist into brewery owner. Downie (00:59:15): Everybody comes from somewhere. D Bagby: That’s right. Downie: Actually, you know, like you say, the whole hops chemistry. You know, Jackie Trischman in Chemistry at Cal State (University San Marcos) is working with Stone investigating hops chemistry. D Bagby: That’s awesome. Downie: So, you know, Bonnie Bade (Cal State University San Marcos) in Anthropology is medicinal plants, Native American medicinal plants, and looking at how those can be incorporated into beers and things, so… D Bagby: Absolutely. Downie: So, it's--you can pull a whole lot of different disciplines and interests and experiences into-D Bagby: Absolutely. Downie: The whole world of beer. D Bagby (00:59:45): Absolutely. And that, and the whole historical piece too, is something that both Jeff and I are really passionate about. And that's a big reason why we have such diversity in terms of the beer styles that we brew here. He brews here because of that. They, you know, a Belgian blonde brings us--brings us back to Brussels. It brings us back to visiting with our friend Yvan (De Baets) from (Brasserie) de la Senne, you know? That to us is a big reason why we wanted to do this also is to bring pieces of these experiences that we've had all over the world right here. And if somebody is able, isn't able, or doesn't know they want yet to go to Belgium or they don't know they want to go to Germany or maybe they never will, you know? If we can bring a little piece of that to them, that's whether it's the beer, the glassware, the, you know, a little bit of history lesson through our employees. That's all--that's a big, that's a huge piece of this for us. So having a big staff is a challenge. Per slight understatement. Downie: How many employees do you have? Transcribed by Ernest Cisneros and Judith Downie 18 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 D Bagby: We have about sixty employees now. Yeah. Which is the smallest staff we've ever had. We-when we first opened and you always open with more than you need, but we had over a hundred employees at one point. Downie: Wow. D Bagby: Which is a big, huge thing. Lots of people. J Bagby (01:01:06): Through all of that, through all of the construction, through all of the opening and employees (unintelligible), I like to tell people that absolutely nothing surprises me anymore. D Bagby: No J Bagby: Nothing. D Bagby: No, no. J Bagby: I've heard it all, seen it all at all. Been through it all. Yeah. Downie (01:01:22): And you're still standing. D Bagby: Yeah. We are. Yep. Downie: So, you've already said that you really don't look to expand beyond this site and it seems like it's large and you have plenty of elbow room but— J Bagby (01:01:39): We could even expand onsite because we have a building that we haven't really even touched—(speaking at the same time) D Bagby: (speaking at the same time) Touched. Yeah. Downie: You’re kidding. D Bagby: Yeah. Downie (01:01:44): So you have expansion elbow room. J Bagby: (speaking at the same time) Yes. D Bagby: (speaking at the same time) Yes. Downie: But since you're not canning beers now, what are your plans for the future in, you know, distribution or canning or--? J Bagby (01:01:56): So, we've gone back and forth. What--we looked pretty seriously at purchasing a canning line. Mike Hess (Mike Hess Brewing) was selling theirs. So, I went down and looked at it, kind of Transcribed by Ernest Cisneros and Judith Downie 19 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 ran some numbers and looked at it. But we wouldn't have been a good idea for cashflow for one thing. And the other was, we didn't have that output really. So, we'd have this really-D Bagby: Beautiful. J Bagby: Nice canning line and it would be lovely to put a ton of beer in cans, but no output for it. Downie: Okay. J Bagby: (1:02:24) Which, you know, cart before the horse or not, or whatever, it's sometimes you just have to jump in. And so, we decided not to at that point, but it is something that's on the mind, especially with a lot of our beers that tend to be growing in popularity and that we think would be really good in a package or in the proper package. So, that's still a possibility. But we haven't decided what step we're going to take first in doing that. So, there is a possibly of that in the next year or two, three. Other than that, I really want to continue pushing our draft distribution because it's something that we can do in the framework that we have. We have the beer, we have cooperage, we can get more cooperage very easily. And the capital outlay isn’t as much, and the space requirement is not as much or as intense as packaging. What else, what else? D Bagby (01:03:23): We one hundred percent self-distribute in California. So, we don't have a distributor anywhere. J Bagby: Out of state we have (unintelligible). D Bagby: Out of state, yeah, we (unintelligible). J Bagby: We’re not spending a lot out beer of out of state, yeah. (Aside to D Bagby, Forgot to tell you I talked to Matt Bonney yesterday about Washington.) D Bagby: Oh, okay, cool. J Bagby: So, we'll do some stuff up there, but anyway. (laughs) D Bagby (01:03:40): There you go. Heard it here first before I even heard it. (laughs) No, just kidding. J Bagby (01:03:44): And he called me during the party. D Bagby (01:03:45): Yeah. So self-distribution. We want to do that as long as we can. As a young business, (unintelligible), the margins on draft wholesale beer are already pretty, pretty low. So, you want to try to maximize as much revenue as you can at this stage of a business. There's also a lot of interesting things happening. I try to kind of dial into this a little bit as much as I can. There's a lot going on with this whole notion of hyper-local and, you know, being the kind of brewery that, and there are lots of them, that have these humongous, very ambitious goals to be in every state or to be in twenty states or to be all over the place right now. And I certainly don't disparage that, that's part of their business model and that's what they think is awesome. (01:04:34): Go for it. But it's really feeling a lot like people are more, appreciating more and more, what's right near them. And you see certain breweries that are drawing back from that, that broad scale distribution more and more-- Transcribed by Ernest Cisneros and Judith Downie 20 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 J Bagby: Or just staying where they are. D Bagby: (1:04:55) Or are just staying where they are, yeah. They say steady is the new growth. So, I think we're just, we're kind of a cautious company. We don't take a lot of big risks. Maybe because we have such a gigantic property here and so much going on that we don't have to. I mean, we don't even have the energy really to make big plans. But, no, we do talk a about what's next and where, where are we going to grow. And I do think even locally--we, you know, Jeff said, when he tries to sell someone beer, we actually haven’t actively sold any beer. Every drop of beer that hasn't been sold over our bar here at the pub has been somebody coming and saying, “Hey, I want to have your beer on at my place.” So, they reach out to us either, you know, usually via email. J Bagby (01:05:41): That’s who I just met downstairs. And he is a friend, but they came to us to taste. More traditional sort of setup like, “Hey, can you send your rep by and bring some of your beers? I'd like to taste them on tap.” D Bagby: Yeah, we do not have a rep. (laughs) J Bagby: I'm the rep. D Bagby (01:05:56): We don’t have one of those. Yeah. (J Bagby laughs) Part of it is too--and so that’s, it’s kind of nice that that’s, because then we know the accounts that have come to us really already get it. They already understand what we do and appreciate that enough to reach out, but we do not, we understand that is not sustainable. And the growth that we really do want to realize on the wholesale side is only achievable with some outreach. And that’s something that is--we know, we both acknowledge that that’s really important. But we also, again talk about kind of risk aversion. We were— it's still too close to us. We don’t want to just hire a sales rep and tell them to go out in the world and sell the beer. It’s really hard to let go of it and to, you know, just be those, just say, “Oh yeah, go for it. Volume volume. Get it.” (01:06:42) Because it still really matters to us who’s pouring it. How they’re pouring it. Are they taking care of the kegs? Is the glassware appropriate? Is it clean? Are the lines clean? All we need is somebody to have a beer like this Kölsch that I'm drinking that is so delicate. And such a light beer that, you know, if it’s not cared for it is going to be flawed. And you know, most people don't drink a beer and think that they don’t like and think that it isn’t the brewer (laughs) or the brewery. Most people do not say, “Oh, those lines must be dirty. That's why this does not taste right.” So, it’s just cautious and definitely overly cautious. I’ll say we are very careful. And, you know, that’s, at some point we're going to have to start peeling our fingers off those kegs a little more forcefully and get out there in the world and really see. We hear from time to time that people believe that we just don't have any beer to sell. Because we aren’t actively selling it, which isn’t true. We make a lot of beer and we sell a lot of beer over our own bars, but we definitely have some volume that could go out much more than it is. So, we’re working on it. Got our hands pretty full. (laughs) Downie (01:07:57): Now, this is something, you know, because you are both cautious people, but what if something happened and your landlord decided to sell the property? J Bagby (01:08:08): So, there's provisions in our lease that say that I can’t change our lease. Downie: Okay. Transcribed by Ernest Cisneros and Judith Downie 21 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 Downie: It was very protective. D Bagby: Yeah. J Bagby: (1:08:15) It was very protected line by line that thing to make sure things like that like they couldn’t say, “Oh, we are going to sell a parking lot to a developer for apartments.” They can’t do that, you know? So, if they sell it our lease stands. D Bagby: And we can buy it too, we have to be considered. J Bagby: We don’t have first right of refusal. D Bagby: Something else called that. J Bagby: (1:08:38) Their landlord or their rep did not want to give that--our landlords have kids. I would not see them giving up this property to somebody unless we just came by and plopped the amount of money on them, which can happen. And, you know, I know that the people that own these shops kind of behind the alley-D Bagby: West of us. J Bagby: The other side, are trying to develop it and turn it into apartments. J Bagby (01:09:07): I'm like, that is a six-year project. If Coastal Commission-D Bagby: It’s the Coastal Commission. Downie: Yeah, it’s a coastal commission. Will even allow it. D Bagby: Yeah, if the city-J Bagby: (1:09:17) We are so lucky to avoid those things, you know? We don’t have a conditional use. It was in the beginning we had some neighbors that were complaining. And I think it was just because people were parking on the street. It’s public parking on the street. And they were just getting mad because they used to park in front of their house at a certain time of night. And it wouldn’t be a problem. You know, because we’re—anyway. Somebody came and complained and said, “Oh, well, I'm going to go to the city. And you know, I’ve already started signatures to get your conditional use removed and dah-dah-dah.” And I was like, “Well, that’s cool, but we don’t have a conditional use.” And (the city has nothing to do over what we do here as a business. Because we’re permitted as a right. So, (whispers) sorry about that. (laughs) D Bagby (01:09:58): Yeah, it was, we haven’t really, honestly, for being as close as we are to residential, we have had virtually no issues other than the first probably month we were open where people were kind of caught off guard maybe by the volume. But that’s, I mean, at least as far as I'm aware, we haven’t had any issues. We haven’t had any issues. Transcribed by Ernest Cisneros and Judith Downie 22 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 J Bagby (01:10:16): I had a couple of things. There was that one guy that, you know, I think he just wanted to come in and kind of rant. And I was nice to him. I just let him go. And when I said, you know, “I want to work with you. I want to work with the community, but you got to realize that, you know, the streets are public parking and unless you get that changed, which you're perfectly willing to try to try to do, but I don't believe the city is going to let you just for your spot in front of your house. And you know, I want to help you. We have the required parking that we're supposed to have for the use that we have here per our agreements with the city. And, you know, really sorry if there's any incidents or things that, you know, please feel free to call us.” Like just, you know, kill them with kindness kind of thing. And you know, reminded him that he really could not do anything about it. D Bagby (01:11:05): Yeah, you live on a commercial zone, basically the boundary of a residential and commercial coming together. And that can be a challenge, especially because there wasn't anything here, no operating business for years. And even when the dealership was still going, I mean, they wouldn't--there wasn't so much parking demand. Yeah. That would have ever affected them. So, I get it. I would be upset too, probably, but— Downie (01:11:26): But yeah. And change is always going to have somebody not happy. D Bagby (01:11:30): Absolutely. That's true. Yeah. Sweat (01:11:33): I actually have to go. I'm overseeing an event in Encinitas here in a second, so I have to run. D Bagby: I hope you don’t run into any traffic. Sweat: We’ll see what happens. (laughs) Downie: It should be pretty good by now. Sweat: I'll follow up with you tomorrow just to make sure you have everything you need and just see what any next steps are. But, let me know in the meantime if you need anything. Downie: Thank you, Holly. D Bagby: Thanks Holly. Downie: I wish you a safe and easy drive. Sweat: Thank you, I know. D Bagby: (01:12:00): I hope so too. Holly, we'll look at those pictures today, too. I know you guys are asking and we just have had a crazy few days. Sweat: Yeah, we know with your party. D Bagby: Yeah. (laughs) Transcribed by Ernest Cisneros and Judith Downie 23 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 Sweat: It looked like a lot of fun. D Bagby: It was a lot of fun. Sweat: And honestly, if you are only able to decide on like, a few, I could do the ones of Jeff just to get them to see. D Bagby: Yes, I'll do that tonight before I leave. For sure. And how many do we need to give her? Total? Or selection? Sweat: It’s in the email, like, how many you guys agreed to pay for. D Bagby: I can’t remember. Sweat: It might be one or two or Jeff. D Bagby: Okay. Sweat: That we agreed upon. D Bagby: Okay. Sweat: But yeah. D Bagby: Thank you. Sweat: It’s nice to see you both. D Bagby: You too. Drive safe. Downie (01:12:37): So, if you can still give me a little more time. I know I had just an hour, so I don’t (unintelligible)--. J Bagby (01:12:41): Sure. I might check in on that account in a minute, but yeah, if you have some more questions, for sure. Downie (01:12:50): You both sound like you're very, very invested in education, you know, which is a wonderful thing. What would you say, I mean, do you support any charities or causes through the brewery that you feel like you want to talk about? Or, are there plans to expand your reach into, you know, goodwill gestures besides listening to irate neighbors? (all laugh) J Bagby (01:13:15): It's hard, you know? We get approached almost every day about some sort of donation for something. We have an outlet on our website where you can fill out a form and apply. And while we like supporting charities and the community, it's difficult because there are so many of them. And we like to look at the ones that either we've supported either personally in the past, or that we have a connection to through a family member or a very good friend. Where we can say, “Okay, you Transcribed by Ernest Cisneros and Judith Downie 24 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 know, this is important to us because of this.” You know, while we like also doing this, we're also running a business. So, at some point you can't--you have to close the doors a little bit on it and say, “Look, we want to help you out. But you know, you're asking—" we could do it. The easiest thing for us to do is donate beer. But the hardest thing for us to donate is beer because of the licensing required for the nonprofit to actually get it. And they don't understand that. Downie: I’ve run into that. (laughs) J Bagby: And we always have to be the one that's like, well, “We'd love to help you out, but there's this, this, this, and this.” Downie (01:14:22): Yeah, and more education. And what Stone did—because I approached Stone about some beer to maybe put into a scholarship raffle that we do through the Society of California Archivists I belong to. And it was, “Well, what did the ABC (California Department of Alcoholic Beverage Control say?” And then I ran into the ABC and I just went, for the permits we'd have to get, it's just, you know, it would eat up what little money we would make. So, and I understand that completely because (unintelligible). D Bagby: Yeah, we’ve seen it. But, with that said, we are involved. J Bagby (01:14:51): Yeah, I mean, we just had two weeks ago or, not this past week and the weekend before, we had a gigantic breast cancer benefit festival on our parking lot that a lot of our staff members donate their time to. We donate beer to, we donate food to—yeah, we donate space. And basically, we host the charity. And that was something that I started with the woman who founded the festival back at Pizza Port. Downie: Is that Brewbies? J Bagby: Yeah. Downie: Yeah. J Bagby: So that's the biggest one that we have. And then this one that we just had almost raised almost fifty thousand dollars for charity. Downie: Wow. Wonderful. J Bagby: And so, you know, knowing that and having been involved with this one for nine of them now, and being in the beer industry in general, I'm always getting asked, I'm very diligent about when we get a request for a festival because sometimes, first and foremost, sometimes the festival isn't necessarily great for the charity. (01:15:46) There'll be a promotional company--excuse me, that we'll get out there, go up to a charity and say, “Hey, we can make you five thousand dollars if you pull the license for this,” you know? But they don't realize the potential risks involved or the insurance liability that they have to take on, different things like that. And the production company ends up taking the majority of the money because the proceeds. Now it's illegal because one hundred percent of it with that one day ABC license is supposed to go to the charity. Transcribed by Ernest Cisneros and Judith Downie 25 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 Downie: Right. J Bagby: So, if someone squats, the ABC can say, “Hey, we need to see your books.” And then not only does the charity get in trouble, which they may not even be aware of. Downie: Right. J Bagby: But that promotional company, and even the breweries could get in trouble because they donated to it. Another thing is on our side, not only are we just donating beer but probably donating two people's full day’s worth of time to get the beer ready to go to the event, to get all the equipment together, to drive to wherever it might be to set up, to pour, take it all down and bring it all back home, clean it all. (01:16:43): And so, people don't realize what really goes into it on our side when we're donating. We're not just donating a beer, we’re donating quite a bit more so we're pretty diligent about those. But that's really the easiest way for us to support a charity or a community event, unfortunately. Downie (01:17:03): But those are facts that, you know, people need to be aware of. And you both talked about how much learning you've had to do along this path. D Bagby (01:17:13): We’ve done some kind of other fundraisers, though. J Bagby: Yeah, we've done some onsite things. D Bagby: There have been a couple of military things that we've supported and— J Bagby (01:17:25): And the dogs, yeah. D Baby (01:17:27): So there's a few things that we really, really kind of key into that mean a lot to us. But yeah, I think as a— J Bagby: Firefighter-D Bagby: Pint Project. J Bagby: Yeah. (01:17:38) A couple of onsite things that were pretty successful and, you know, we're just--you get back to this, like you can't do them all, you know? And as not nice as it sounds, it does need to benefit us in some way as well. Because we are offering up a lot when we do these things and why we want to help the community, we want to help these people that need help in some way, we just have to be careful. D Bagby: Yeah. Exactly. Downie (01:18:07): Yeah. Because, you know, I mean, not every charity is a 501(c ) or is required and you get into all kinds of thin ice. So, very understandable. But, no. D Bagby (01:18:19): Now that's one of the things that I think is a benefit to us as Jeff has made it his mission and his absolute business to know as much as he can about ABC licensing. Just any sticky situations that are pitfalls. The San Diego Brewers Guild (a nonprofit organization that promotes San Transcribed by Ernest Cisneros and Judith Downie 26 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 Diego breweries) just hosted like a ABC meeting at a local brewery a couple of weeks ago. And I feel like we knew a lot of that stuff that was mentioned, but it's still great to go and be a part of that. J Bagby: It’s like a refresher course. D Bagby: It’s a refresher. But you can just see in the room, people— J Bagby And you get questions and hands go up. And you’re thinking “You can’t do that.” D Bagby (01:18:58): Yeah. yeah. So, it was really interesting to see people's reaction to these rules that many of not all--I've been really long standing for a long time, but if you don't know, you don't know. And I think there's a lot of ask for forgiveness later, which may have worked in the past, but as the ABC gets more versed, they get--there are certain things that they were getting very particular about as they should. Downie (01:19:31): Well, once they see it as a continual problem, that it keeps happening, they're going to start coming down and— D Bagby (01:19:37): Yeah, and it's, you know, it is--I believe that it is your job as if you're going to have a license that you should know how it works and what--it's a responsibility. And it's hard for us to sometimes see other breweries who don't know. And that's fair if you don't know initially, but that blatantly break these laws all the time. And you don't want to see them get in trouble, but you also don't want to set up. It sets expectations on the customer side it sets expectations on other breweries’ sides were like, well, “They did it, why can't I?” And so of course for people like us who, like I said, risk averse, we want to make sure that we're--I mean, our biggest asset, those are the alcohol license. That's why we're here. So, if something happens to that, it gets jeopardized that's--that is a bad thing. (laughs) Very bad. So, yeah, it's, it's been talking about education. That's something that I've learned a lot from Jeff. And we've offered up if anybody has questions certainly here locally, you know, we're always available. People want to bounce an idea or, you know, find out more, we're happy to help. Downie (01:20:46): So, you're active in San Diego Brewers Guild. Because I saw you at Guild Fest (SD Brewers Guild Fest) and you just mentioned a recent meeting. Are there any other organizations you're active in or are members of--? J Bagby (01:20:58): We’re members of the Brewers Association, the National, um— D Bagby: CCBA. J Bagby: And the California Craft Brewers Association. Also, the MBA, the Masters Brewers Association of America. D Bagby: I'm actually a board member on the— J Bagby: San Diego. D Bagby: Brewer’s Guild. But yeah, there's a lot of those little things like that. Transcribed by Ernest Cisneros and Judith Downie 27 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 J Bagby (01:21:19): I think those are the main ones, but those are all, I mean, there's some international stuff, but yeah. Downie (01:21:26): Yeah. What are you going to get involved in? I mean, again, it's kind of like the finding the charities that are actually going to be beneficial. Is that going to benefit you? J Bagby (01:21:36): (unintelligible) international. Well, yeah. I was going to say the only benefit for us because, you know, they have incredible conferences and technical courses. (Downie laughs) That would probably be the only reason for us to really be a part of those. And there's some competitions, there's some, some bigger European competitions that are gaining a lot of speed and a lot more Americans are actually sending beer over and winning medals. So, it's something to watch. But yeah, it's not like, you know, where we're going to Brau and Nuremberg every year or something like that. Downie (01:22:08): Well, that does bring up. When did you start putting your beers into competition? D Bagby: Good question. J Bagby (01:22:14): That was back when I was at Pizza Port at Solana Beach. We entered beers at Stone, but they weren't really--I didn't have anything to do with the recipes of those beers. Downie: Okay. You were an assistant. J Bagby: I was just standing there, but when I got to Solana Beach and was working with Tomme, some of those were my ideas and my things where I brewed them, or we brewed them together. It's a bit more intimate and I was a little bit more involved. So, I would say there, really. And that's where, you know, won, our first, or my first time across the stage. (laughs) Downie (01:22:50): Have you kept a list of all the awards you've won (unintelligible)? J Bagby (01:22:55): She did quite a bit of work on that before our business case. Before we opened. But I think she ended up just tallying GABF awards and World Beer Cup awards. Because there's certainly other things, too. There's like Alpha King. I’ve won that three times. That's the Hoppy Beer Competition that they hold during the GABF, that’s not associated with the GABF. Some awards at San Diego International Beer Festival, what do you call it? Beer of the Year, three times there. And some various other medals in, you know, have we ever entered LA county? A couple of times. So, you know, some things here and there. IPA festivas up and over North and Hayward. Years ago, I won medal at the Alaska Beer and Barleywine Festival. Downie (01:23:45): Oh, Alaska. Wow. You've really reached out here. J Bagby (01:23:48): It's a very long running, very famous festival. Downie (01:23:52): I’ve heard of it, yeah. But it just seems very interesting to me that if somebody were keeping a list of what beers they had won awards for, I think that would tell a story about some of the changes in styles and some of the expansion of styles of beers. Transcribed by Ernest Cisneros and Judith Downie 28 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 J Bagby (01:24:07): Yeah, yeah. Maybe, I don't know. I was talking to somebody. I was in Miami at a festival this past weekend. A friend of mine, his anniversary for his brewery. And he throws a festival that coincides with it. It's invitational. Anyway, he invited me and I was like, “Yeah, I've never been to Miami. I'll go.” So anyway, I was talking to another brewer friend who was there and he was like, “Oh, well, you know, you won lots of IPA (India Pale Ale) medals,” and you and I was like, “Boy, yeah, I won some of those,” but also won in Belgians and a lot of different stout medals. And, I even have a couple of German pilsner medals. Some other like, you know, Scotch Ales, like Brown Ales. It's kind of a wide gamut. So, I don't know if my medal history would necessarily tell much of a story in that way. Maybe. Downie (01:25:02): Yeah. Well, I think the more pieces of evidence there are, the more our story can be put together. But have you ever done judging? J Bagby (01:25:10): Oh yeah. Yeah. I've been a judge at the GABF (Great American Beer Festival) and the World Beer Cup for thirteen years. Thirteen, fourteen years now. I don't remember my first judge GABF. It was like 2003, I think. So, yeah. I've been doing that for a long time and I'll be doing that this year in National. Downie (01:25:33): Yeah. I've heard comments that GABF has gotten so big and so many categories that has just really become kind of overwhelming. How do you feel about that? J Bagby (01:25:43): I wished that they would, on the organization side, that they would grow the competition to represent the growth in the beer industry. I get what they're trying to do and what then they have limitations, but sometimes I think they're being a little harsh on the restrictions on their side. You know, there's almost eight thousand beers in there, in the GABF last year, and I'm sure the World Beer Cup will be around that. And I think there's seventy-nine categories. They haven't expanded the categories too much in the last five years. I think maybe ten years ago there might've been sixtysomething categories. So, it hasn't expanded a whole lot, but what has is the entries, right? So, brewers used to be able to enter around eight beers per brewery, or brewhouse, location into the competition. They've changed that and they have several different categories in ways, you know, like a Pizza Port that has five locations. (01:26:44) You know, what if all five locations enter beers? Well, they have stipulations on how many beers a corporation, or a set of breweries, that are under one ownership can enter. So, every year that we've been a brewery, we've entered the maximum number of beers that we can enter into the GABF. And that makes it difficult because you only have four shots, right? Like we're sending four beers to the World Beer Cup. So, it's a more difficult. But so does everybody else. And so, everyone else has to make the decisions and the kind of cuts in their mind of which beers they want to enter, which ones that they're going to pass on for this year or this competition or whatever it is. So, it's still very fair. I think it's still judged very fairly. Probably the most fair competition there is in beer because of the qualities, the qualifications of the judges, and their palates and their history and their tenure as judges judging beer. It's all judged blind. It’s done very, very well. (01:27:54) The problems I see with it are the categories that are masked, or you have over two hundred beers in the category: American IPA, Imperial IPA. I think American Pale Ale is pretty high. Some of these other ones that they get close to, you know, that are well over one hundred beers. You're getting into a situation where the algorithm isn't--so, you know, when they're spitting out their initial rounds and the algorithm that isn't accounting for past medal winners. Or beers--so you could have a round that has eleven beers in it, say it's American IPA, and that round might not have a single beer that's ever been in the competition before, or all new breweries that have never been to a competition for it. Then you could have another set of eleven beers where every single one of those beers has won a medal in the American IPA category Transcribed by Ernest Cisneros and Judith Downie 29 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 before. (01:28:49) And they’re, as far as I know, they're not accounting for that. And to me, that changes the game a little bit. Because even if you're a judge and you, at which has happened before, you'll get around and you'll be like, “Man, it was tough to pass on three of those beers, really could have passed on two or even just one and save the judges down the road some tasting.” Well, they require you to pass on three. They really push you to pass on three. If you absolutely can't then they want to hear why and want to hear an explanation. And so, I just believe that in that sense, you know, well maybe it's okay, but in the other sense where they're like, “Man, we had eight good beers. It was really hard to only pass on three beers.” (01:29:39) So, now you've got this thing where you might have a potential medal winner that gets knocked out early because it was in a round with all excellent beer. Downie: Yeah. J Bagby: So that's--if I had a complaint about them, I wished that they would account for that. Especially in those--there's only, I'm talking to a handful of categories where that is really something I think that comes into play. The only other thing might be, like I said, to have grown with the competition or with the industry and allow brewers to enter more beers. But that takes more time. It takes more judges. They try to get the judging done in three days. If they didn't, they'd have to get another day, which is paying more, but you have to pay to enter the competition. So, to me, there's some work that probably could still be done. (01:30:33) And there is a lot of brewers out there that are like, “Oh GABF. It's kind of eh.” You know, I believe in what my beers are and I send them and either I don't win medals or other beers win medals in the category that I entered that I don't think are as good as my beer. I think you have people that feel like that. But having been a judge, I've been on the tables. I've never been in a case where I was like, “That beer should have won a medal and it's not in the top three,” you know? I've never had a case where there wasn't a lot of thought and a lot of time spent into the beers that actually win medals. They’re medal-winning beers. Downie (01:31:15): Okay. I had a question and it’s just completely slipped my mind. J Bagby: Sorry. I know. Downie: No, that's okay. It still had to do with this. Um, I don’t know. (laughs) J Bagby: With the competition, or--? Downie: Well, oh, I know what it is. The brewers themselves decide what style of beer they’ve brewed. Have you run into cases where you taste a beer and you go, “This has--should have been in this category, you know. What were they doing putting it in here?” J Bagby (01:31:43): Yeah. Yeah. And the BA (Brewer’s Association) is real upfront about that when they tell brewers, you know, read the style guidelines and make sure that your beer fits into those guidelines and they give you everything. They give you a verbal description of the bitterness, color, aroma, mouthfeel, text--you know, everything. And then they also give you actual numbers for alcohol range, color range. Those are the things you need to pay attention to. And I feel like there is brewers that still don't pay attention to that. I don't know how or why. Or if they've just mislabeled their beers or what happened. But, they're—it’s pretty upfront. Like, this is--the judges have this when they're sitting at their table and they're going to read this before they start judging your beer. So, why would you enter something that doesn’t fit? Transcribed by Ernest Cisneros and Judith Downie 30 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 Downie (01:32:39): Yeah, because you don't know why. Because I was thinking, well, maybe it's just their taste buds are different? Or it didn't transport well. (laughs) J Bagby: (01:32:48): Yeah. I think, you know, for instance, she (D Bagby) sent me a picture one day. She had a Kölsch earlier. I can't remember what brewery she was drinking at. But she sent me a picture and it was this hazy beer in a straight sided pint glass. And she wrote “Kölsch--?” And so of course I went, “What does it taste like? Where are you at? Blah-blah-blah.” But a lot of people would look at that and go, “Well, Kölsch should be bright,” you know? Any German from Cologne is going be like, “That's hazy,” that’s got--you know. Even chill haze shouldn't really be there in a Kölsch. Downie: Okay. J Bagby: And a brewer's interpretation is one thing of what they call it on their menu board versus, you know, what category they might enter it in GABF. So, a beer like that might be an entered in a Keller beer. Because it might be an unfiltered Kölsch. So, they might say, well, “Yeah, it's German style Kölsch,” but it's actually a Keller beer because it was brewed in the vein of a Kölsch, but Keller is a German style beer. Downie: (01:33:46): And that’s “K-E-L-L-E-R?” J Bagby: Yeah. Downie: Okay. I'm still learning all the— J Bagby (01:33:53): Oh yeah, there’s tons. And that's-Downie: There’s huge number of beer styles. J Bagby: Yeah, and there's, you know, historical beers that are becoming more popular and more rare, more obscure recipes and styles where there's a little bit more confusion or debate over what is actually correct. The Brewer’s Association does a good job of refining their categories and reviewing them each year. So, they take judge's interpretation—or judge’s comments on style descriptions. “No, no, this actually should be this way,” or “This should allow for this and this as well as this,” you know, so they do a good job of keeping up with that. But yeah, if you, you know, taste a brewer’s altbier at one brewery, and then he goes to another brewery and tastes another brewer’s altbier, they could be completely different beers. So, there that slide in judgment, but when you get into competitions, where's the category of your beer doesn't fit in it, then don't enter it. (laughs) Downie (01:34:54): Well, I mean, brewing is such a creative process. And there are as best as you can try certain factors like, you know, a Centennial hop may not be exactly the Centennial hop it was the year before due to the growing season, the factors there. So, it really is a creative process, but I've been kind of interested in the whole, you know, yes, I've seen some of these categories and descriptions and I'm like, “How can you always guarantee that those beers?”--well, obviously not. Not surprised. J Bagby (01:35:28): Yeah, there's interpretations of (unintelligible) category descriptions in different ways, for sure. Transcribed by Ernest Cisneros and Judith Downie 31 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 Downie (01:35:35): Well, while you were meeting that account, Dande was telling me how, you know, when she first met you, how you were educating her into all the varieties of beers, you know? How she has found that to be so helpful. And then just the brewers I meet all seem to be that way as they to educate someone who--on the various styles that they're brewing or they're enjoying right at the time. Do you find that wearing? You know, continually trying to educate more people? J Bagby: (01:36:06): I think when it's--if I was doing it every day, I think it might get—or the same exact set of beers every day or the same exact descriptions of the same person or the same, you know, whatever. I think I might get a little tired of it. But to me it's kind of exciting, especially when you have somebody that's open to it and isn't restrictive of themselves in their own palates. So, if you have somebody that's like, “I've never tasted German-style Weisse beer. I've never tasted American Red Ale,” which is kind of a better example. “I've never tasted Irish dry stout. I've never tasted—" you know? Whatever it may be. And if you can get five or six of those things in samples right in front of somebody, that's going to be a really cool conversation. Especially if that person's open to tasting and listening and identifying with what you're talking about in each one, you know? When you say, “Oh, what do you smell on that? (01:37:00) What are you getting that? Okay.” Those types of things come from this ingredient or this timeframe or this hop or this malt and--or whatever other specialty ingredient might be there. And when the person identifies and goes, “Oh wow, that's really cool. I never thought of it like that.” All of the sudden you've got somebody who thought they hated German-style hefeweizen and going, “No, actually I'm going to order that the next time I'm out because I want to compare it or I want to see what it's like again, and kind of—"you know? I think people like, you know, connecting the dots in their heads. And if you've given them a little bit, just to even a little bit to bite on like English-style bitter, or an Extra Special Bitter, you know, what does that mean? What does that, it sounds, it sounds harsh, Extra Special Bitter. (01:37:43) Well, no, there's actually some really nice malt depth in ESB (Extra Special Bitter) and it should be there. Well, it should have a firm bitterness, but what kind of bitterness? Well, it's not American piney, citrus, passion fruit, floral. And it's not that kind of hop it's the more herbal, spicy, earthy hop from the English varieties. And even just that much, and a person can go, “Oh, well, I really liked that.” Downie: And it makes it more accessible. J Bagby: And the next time, the next time I see it somewhere, I've got that connection in my brain to go, “Yeah, I know what I'm ordering it and there it is. Affirmation.” I'm drinking it. And it smells and tastes like I remembered. And I was told that it should. And I get that a lot where somebody will say, “Hey, you mentioned that, you know, this style beer can have this, this, and this. But I tried it over here and I got this, this, and this.” (01:38:34) And that's sometimes where the brewer’s discrepancy is between styles or different ingredients or maybe just something is slightly different. But you can explain that away. And therefore, they've learned a little bit more and they have their file on whatever that beer was just got a little bit deeper in their head. So, the next time they try it and they connect the dots again. And I don't know, to me that's fun. That's exciting. And it's really exciting to see when someone's open to that and is engaging in that. It's kind of a little bit difficult when somebody says, “Oh, I don't like bitter beer,” or, “I don't like hops.” And you're like, “Well, you just haven't tried the right hops yet.” It's like, if you like beer and you're say you're a beer drinker, I believe--yes, you can have your favorites and the ones that you don't think are as great to you, but you got to try everything. (01:39:24) You know, there's some newer, crazy styles out there I get, but the basics, ales and lagers, and the families within there, the style of families, if you say you're a beer drinker, you should know those or have a basic framework and Transcribed by Ernest Cisneros and Judith Downie 32 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 understanding of what those are or have the desire to go, “I've never really tried that. I'm not really familiar with that, but I want to see. I want to see what it tastes like so that I know if I really like it, or I don't.” To like, find that out later, you know, like give yourself the chance to like it. Downie (01:39:56): It's like the three-bite rule with the kid and the vegetable. And then, you know, you got to at least try three bites of it. And then if you don't like it, we'll go from there. So that's a good way to do it. Now, do you have a favorite hop? Is there one that you like brewing with more than others? J Bagby (01:40:12): There’s definitely hops—plural--that I like using. We're a pretty classic traditional brewery. So, we stick to pretty traditional classic styles of beer. So, we're not using too many of the new, exotic, crazier hops. We're sticking to more of the classic American Pacific Northwest American hops and then the Nova varieties and then the English varieties. So, on the American side, you know, we're using a lot of Cascades, Centennial, a little Amarillo and Simcoe, and Columbus and Chinook. And that's kind of our core for the American side, but then the English ones are really wide and Noble hops as well. We use a lot of different varieties and again, not a lot of real new flashy ones, in part because of our contracts, we didn't know how and when our brewery was going to open. So, I bought a lot of hops because I was afraid that we weren't going to have any when we opened. So that drove that a little bit. The other part was just, yeah, I really liked those more classic American hops over some of the newer ones. Not to say that I don't like sprinkling a little of them here and there in brews, but I tend to favor those classic ‘C’ hops (referring to Chinook, Citra and other hops starting with the letter C.) Downie (01:41:30): And so you don't, from what you're saying, I'm hearing that you probably aren't planning on doing, you know, real strange and experimental beers either, you know? You're going to stick with the more--? J Bagby: (01:41:43): No, I think if anything, I would pick some of the more obscure older styles. I’ve talking with some friends about a smoked wheat beer that used to be made that is actually--I believe it's actually a lager yeast and it's a fairly bright beer. But it has a smoked character to it, and a little bit of bitterness and wheat malt character to it. But I'm always afraid to brew smoked beer because I think, I always think that it's going to be me and like three other people drinking it. (Downie and D Bagby laugh) Downie (01:42:11): Yeah, it could be a big mistake if you brewed it on your big system. So, do you have a small system that you can do little test batches on? J Bagby: No, it’s— D Bagby: It’s all or nothing. Downie: Well, that goes to being risk averse again. J Bagby (01:42:27): Yeah, we have a little lager on right now. I think it tastes fantastic. I just think it doesn't--I just think it's not exciting to people. It's a Belgium style beer. If you're familiar with Belgian style dubbel, which is basically like a Belgian style brown ale, but it has a Belgian yeast character to it. So, it's a little spicy and dark fruit and things like that. Well, take that and cut it in a little less than half with alcohol and flavors and everything else. We dropped it down to only about four and a half percent. It still has a lot of those characters, they're just a lot more mild and it's not as big and it's not as heavy. Transcribed by Ernest Cisneros and Judith Downie 33 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 But it's not selling at all. (laughs) So, even somebody even called it dark Bud Light in the online comment. Downie: Oh dear. (laughs) J Bagby: That was fun to read yesterday. (laughs) D Bagby: That’s alright. It’s not for everyone. J Bagby: Nope. And that's exactly. That's kind of how we thought about it. Downie (01:43:23): One person's interpretation. J Bagby: Exactly, exactly. Downie: But yeah, if you're seeing that it's not really selling then, you know? You kind of-J Bagby (01:43:31): Yeah, we (unintelligible)-D Bagby: We had a few beers like, but that's, I mean, unfortunately, a few of them were Belgian styles. J Bagby: Yeah. D Bagby: But, Bruges Cruise was on for a long time. J Bagby: Well, that's because it was over eleven percent. We had people that loved that beer. But, we sold that at eight ounces at a time. D Bagby (01:43:44): Yeah, but we had it on tap for a year, also. J Bagby: (Unintelligible). D Bagby: They do A12. They do A12. Which is good. Downie (01:43:58): So, do you have much of a barrel aging program? J Bagby (01:44:01): We started one. We had, uh, we did twelve barrels and then we did another set with a different beer of just four barrels. All, most, all of that is gone now. So, we just brewed up Imperial Stout and we're getting ready to purchase thirty barrels. Just deciding what other beers we're going to put in those barrels and talk with the broker about making sure we get them as fresh as possible and which barrels they'll have available at that time. So that we're not filling barrels that have been sitting around drying out for months. They were nice and fresh. Downie (01:44:38): Yeah, you want to be able to extract something out of those barrels. (laughs) J Bagby (01:44:41): Exactly. But it's fun. I like doing it. But we do all straight up beer. We don't use any Wild Geese (blended whiskey) or-- Transcribed by Ernest Cisneros and Judith Downie 34 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 D Bagby: Cupcakes. J Bagby: Or anything like that. (Downie and J Bagby laugh) So yeah, that’s fun. That's, to me, that's--I don't know, that gets to the uber fun side of brewing. You're like, “Oh, I'm going to put this thing in here.” Well, we had that beer that she was talking about in there for eighteen months and I just served it in Miami last weekend and it tasted phenomenal. Downie: (laughs) Love it when something works. J Bagby: Yeah. And sometimes they're don’t. That’s true. Knock on wood, we were pretty lucky with our barrels. Yeah. Downie (01:45:23): Okay. Well, I think I've exhausted all my questions. I learned a lot from you both. I've very, very, very much appreciated your time. D Bagby: Oh sure, our pleasure. J Bagby (01:45:31): If anything comes up or you're going through things and just feel free to email me or her, and follow up. Downie (01:45:37): Come back with something that didn't record or transcribe or something. D Bagby (01:45:41): Don’t hesitate, we're happy to happy to help and also believe in what you're doing, and also-J Bagby: Definitely. D Bagby: And also love to talk about all this kind of stuff, people that-J Bagby: Yeah, it’s fun. D Bagby: People that are interested in it. Because, you know, we work so close to it, it's our life. But we are still--we are very passionate about it. And hopefully that comes through a little bit, even in construction stuff, and crazy things like that. Downie (01:46:01): I definitely see you have a future as working as a brewery construction consultant. (J and D Bagby laugh) Because really, you have gone through a lot of effort to educate yourselves and to do it right. And that kind of knowledge really should be shared. I mean, that's something I admire about Mike Hess. He wrote that, you know, ‘starting up a brewery’ webpage, but that still doesn't tap on everything. And especially, you know, doing something like this, of course every situation is going to change with every city you’re dealing with. D Bagby (01:46:34): But there are some basics that I think we would have really benefited from big time. And I think we would have heeded, we would have paid attention if somebody was like, “Hey, we just did this. Here's our experience. I'm here’s just how you can, you know, maybe avoid some of the pain, some of the pain points.” Transcribed by Ernest Cisneros and Judith Downie 35 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 J Bagby (01:46:49): Yeah, the building part and you know, the construction management. I mean, I think part of that goes a lot. Like I can use the comparison as somebody's going to buy their brewing equipment and calling up three different equipment manufacturing and saying, “I want to buy a tenbarrel system, give me a quote,” and get three quotes and then just choose which one they want and order the equipment and get it sent. Well, I went up to the equipment manufacturer’s warehouse and talked with the engineers for two days before they even started drawing plans for my tanks. And then when they were about to start doing the finishing and they connection piping and all the process piping, I went back up there and stood in my tanks and looked at all the cores and looked at all the valves were and told them where I wanted to move things moved or changed. (01:47:40) And the different specs on all--every single tank, not just the, the brewhouse stuff, but the cellar as well. Because you might get your tank and go like, “Why the heck is it like that?” And I kind of compare that to construction. Like we could have probably sat around and worked on other things and let them take forever to build this place and would have had something in the end, that would have been, but it wouldn’t been us and it wouldn’t been right. And that's just how we operate. So, I think while we spend a lot of time on that and we feel that it was absolutely one hundred percent necessary, some other people might be like, “Well, he didn't really need to do that. You could of—” D Bagby: Get by. J Bagby: But it's not us. I guess that was what I was trying to say. Downie (01:48:25): You have invested heavily in this, so why not have it right? But, Plan Nine (Plan Nine Alehouse) over in Escondido, I was over there one day and they didn't have any of their own beers on tap. And I said, “Gee, you don't have any of your own, I thought you were brewery.” And he said, “Well, we got new equipment and we've had continual leakage.” D Bagby: Oh no. Downie: And they, you know, this was like nine months that they had been dealing with it. So, you were exactly right in going--and I mean, even if you have to stand in your tanks and (unintelligible)— J Bagby: Well, and it’s kind of fun too. (laughs) Downie: Yeah, yeah. They will say, “Hey, I stood in my tank.” (all laugh) But, yeah. D Bagby: That’s too bad. Downie: So, something like that can go very, very wrong. J Bagby: Yeah, looking at welds and not (unintelligible). D Bagby (01:49:03): And also not having the support, because if you--when, you know, when you got your, whatever it is, whatever contractor you have or manufacturer having--actually, we're just dealing with the meeting before you got here or talking to a new point of sale company. And part of the reason is just a sheer lack of support on our current system. There's no one we can call and say, “Hey, you know our business, you know how we operate. These are the problems we're having.” There's just no one. Transcribed by Ernest Cisneros and Judith Downie 36 2024-03 �JEFF AND DANDE BAGBY TRANSCRIPT, INTERVIEW 2018-02-21 And so, this other company that's--you absolutely have a person. So having your tanks leaking, you're losing money. You're, you know, that's literally money down the drain, and frustrating if you're a brewery owner, you’re a brewer, you definitely don't want to see your beer going down the drain. Yeah. Do you have the support you need from the manufacturer? Who's going to back up their work and if not, then pay a few more bucks and get somebody who will. J Bagby: Yeah. Downie (01:50:00): Yeah. So, a lesson to live by. D Bagby: Yes, that’s so true. Well, thank you so much. Downie: (01:50:04): Thank you. Yeah, let's see. Where's my stop button? (Downie and D Bagby laugh) Transcribed by Ernest Cisneros and Judith Downie 37 2024-03 � 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 Bagby, Jeff and Dande. Interview transcript, February 21, 2018. Description An account of the resource Bagby Beer Company emphasizes traditional style beers, a craft cocktail program, and a restaurant menu to complement their beers. Over the years, Bagby Beer featured highly admired and hard-to-find American and European beers such as Bierstadt Lagerhaus (Denver, CO) and Brasserie d’Orval (Belgium) to complement their lineup. Built on the site of a former car dealership (among other businesses), the Bagbys closely oversaw the construction from the ground up which opened in 2014. The site was also host to the Brewbies® cancer awareness beer festival (2015-2022) and the Low and Slow Lager Festival among other fund raising and educational events. Bagby Beer sold to Green Cheek Beer Company of Costa Mesa, CA in early 2024. Jeff and Dande Bagby are the founders and owners of Bagby Beer Company in Oceanside, CA. Holly Sweat is Publicist at Katalyst Public Relations. Jeff Bagby’s role was as head brewer and leading the on-site Beerleaders brewing education program. Jeff’s brewery experience includes Stone Brewing, White Labs, and Oggi’s Pizza and Brewing. His last brewery before opening Bagby Beer was Pizza Port, leading brewing operations for the chain from the Carlsbad location. During his time at Pizza Port, he led the team to win notable awards and medals such as the World Beer Cup and the Great American Beer Festival’s brewery and brewer awards multiple times. He is one of the most awarded San Diego region brewers, notably garnering more GABF Alpha King Challenge awards for best hoppiest beer in the United States than anyone to date (2005, 2010 and 2011.) He left Pizza Port in 2011 to devote his energy to finding a site for a brewery/restaurant in the San Diego North County beach area. With the sale of Bagby’s to Green Cheek Beer, he remains as the brewer and continues to focus on lagers and traditional styles. Dande Bagby worked as Director of Operations including marketing and customer experience. She designed much of the building. Her employment background includes the San Diego Zoological Society, education, environmental science, restaurant and craft beer bar management, and marketing and finance responsibilities for multimillion-dollar budgets at a Fortune 500 company. She remains active in the transition to Green Cheek Beer Company at this time. In their 2018 interview, Jeff and Dande discuss their introduction to craft beer; homebrewing; introduction of craft beer to the region; Jeff’s entry into the profession in the late 1990s; challenges and responsibilities of founding and building a brewery; packaging and distribution; charity work; competitions, judging, and awards; consumer education. Creator An entity primarily responsible for making the resource Jeff Bagby Dande Bagby Contributor An entity responsible for making contributions to the resource Judith Downie Holly Sweat Ernest Cisneros Date A point or period of time associated with an event in the lifecycle of the resource 2018-02-21 Subject The topic of the resource Bagby Beer Company (Oceanside, Calif.) Brewers -- California -- San Diego County Brewing industry -- California -- History Microbreweries -- California -- San Diego County Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oceanside (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. California State University San Marcos Format The file format, physical medium, or dimensions of the resource text Identifier An unambiguous reference to the resource within a given context BagbyJeffAndDande_DownieJudith_2018-02-21_transcript Brewchive(r) Women's experience https://archivesoralhistories.csusm.edu/files/original/07b8770dd2114cfaa740faf8656f5574.pdf f26b5b996684fd469ca62ab036f3d5e9 PDF Text Text Dan Rios Interview I -- March 30th, 2017 Escondido California Chief photographer, Times Advocate (1968 - 1994); North County Times (19952001) Interviewer: Alexa Clausen Dan Rios: My name is Daniel Flores Rios, born in Hanford, California. April 10th, 1939. Alexa Clausen: We have put together some questions. Tell us a little about your childhood, you had told us about leaving the Fresno area. DR: I was born in the Central Valley. My family were all field workers. They picked all sorts of fruits, cotton, stuff like that. The weather was miserable. The winters were freezing cold, the summers were blistering hot, and I never liked the place. So I convinced my mother and father we should move out of there. And in 1953, we moved to San Diego. Settled in Ocean Beach for a little while. Eventually we bought property in Mission Valley, had a house built. Worked with a company in La Jolla doing landscaping, gardening at the age of 14. I quit school in the middle of 8th grade. Never went back there to finish junior high or never even went to high school. I worked in La Jolla for two years for a gardening and landscaping company. AC: Now when said you—said they came to San Diego, you had other family here? DR: Yes, I had two aunts that lived here. That brought us here. Also had a sister who moved here prior to our moving here. We rented place on the beach, Ocean Beach right on the beach. It's called The Ocean Village, we had a little cabin there. At that point it was my father, my mother, my sister, two brothers and myself. I believe a sister too. The other two sisters had already married and moved out. AC: What did they come to do? What did mom and dad come to do? DR: (laughs) Well they came because I bugged the-AC: Said get me out of this-- (unintelligible, Clausen and Rios talking over each other) DR: I just hated Hanford. AC: Oh I’m sorry-DR: I dreaded--I mean we were poor, we weren't dissident, we owned a car. But it was not a good life, it was a miserable life. And I told my mother once, I said, “I know we are going to be poor the rest of our lives, why do we have to be poor Transcribed by Alexa Clausen 1 �and miserable too.” (laughs) I just hounded her and convinced her that we had to move out of town. And we did in 1953. AC: Right, but they knew there would be work in San Diego? DR: Yes, my brother-in-law had gotten a job with landscaping company in La Jolla and he was pretty sure that both my father and I-AC: There was room to have you join them. DR: Yes. RIght. Yes. AC: Now you know, you’re were still very young here when you’re doing the landscaping. DR: Yes, I was fourteen years old. AC: That’s sure a long cry from getting to be a, you know, quite an wellestablished photographer, and Lucy (Berk, a local historian who met Dan when she worked as the librarian for Times Advocate) told me also an artist, a photographer as an artist-DR: Yes. AC: So, let's fast forward your career a little here. So here you are, a kid, landscaping and thinking to yourself, well what? I want to buy a camera? What do I have to do? DR: (laughs). Oh, no, no, no. I took to gardening and landscaping like a termite to wood. I loved it. I read a lot of books on it. I was very good, I was excellent at it. I had a natural sense of design, I learned thousands of plant names and fertilizers and insecticides. At the age of 16—at the age of 14, I was working three days a week at the La Jolla Art Center. Three days a week. Three full days a week. And I figured after two years of doing that, that I could take over the contract and work only three days a week making as much money as I was working five days a week. So I talked to Dr. Malone who was the director, and asked him if I could take over the job at 16 years old. And he did not laugh me away as most people would have done. He talked to the Board and they agreed. So I worked three 8hour days, and then the other two days of the week I worked other jobs. Eventually, I worked six days a week, and I was getting a lot of contracts, a lot of work at 16, 17 years old. So then I called my father to come and help me and my business and got him away from the landscaping company. We did that for about 15 years. AC: Did you have a business name? DR: Dan Rios Complete Garden Service and Landscaping. Had no license, no insurance. (laughs) Transcribed by Alexa Clausen 2 �AC: But you know that was not a big deal then. DR: No it wasn’t. AC: It was simply not a big deal. Most people didn't care, and-DR: No. Nobody questioned me. I was never stopped by the city, by the police, or anybody. But I was 16 years old, did not have a driver's license. AC: Now that was bad, that was a problem. (laughs) DR: So I went to buy a '55 Chevrolet pickup, I had the financing and everything, but I had no driver's license. So the salesman ordered me to go to National City (California), get a driver's license. AC: Down to the DMV. DR: Yes and got it. I made really, really good money. I remember. between my father and I, say in 1957 - 58 (we were) making $20,000 a year. And I researched and I found out at the time high school teachers were making $5000 a year. AC: Oh yeah you could probably buy a little home for eighteen or seventeen thousand at the time. DR: We bought a piece of land in Mission Valley for $4000. Paid that off and then we had a house built. It was a 2,000 square foot house for $10,000. The payments were $72 a month. I told my mother, “You know in ten years that’s going to be nothing. That’s going to be a drop in the bucket.” AC: And it was true. DR: Yes. Oh yeah. She died living there. She died in 1980. We built the house in '58. AC: So did she work? Did she end up-DR: No, no, she was--not any more. She did in Hanford. She had an amputated leg and even with that she went out in the fields and pick grapes and picked cotton. And did all kinds of field work. AC: Give me your mother's name. DR: Jennie. Jennie Rios. AC: And father's name? Transcribed by Alexa Clausen 3 �DR: Theodore. AC: Theodore. OK. And were they from that Northern California area? DR: No, no, no. They immigrated separately to the United States during the Mexican Revolution about 1915-16. AC: I’ll be darned. DR: I think my mother was six years old. I think my father was nine years old. AC: Yeah. They came as children. DR: They crossed at El Paso. And they worked themselves--my father worked as a water-boy on the railroad tracks coming to California. My mother's father worked for a construction company building a pipeline. I haven't really researched that. She said the pipe was as big as a diameter that a man sitting on a horse could ride into the pipe. It was that huge. Eventually, the contract ended in Hemet (California). But they came through the San Jacinto Mountains. She remembered the Indians there singing and chanting. AC: There’s a number of Reservations or one or two big ones there. DR: Yes, Saboba. AC: So well we are making our way to your camera, right? So we’ve got you owning your own company, you have your father involved in your business, and you’ve got a house. DR: And a brand-new car. AC: And you are working for the La Jolla Art-DR: Center. AC: As one of your clients. DR: Then I expanded and I had clients. I was working seven days a week, 12 hours a day. No vacations, no holidays. But it was a lot of fun, there was a lot of money coming in. And for an uneducated kid-AC: That becomes important. DR: Yes. AC: You could finally enjoy things-- Transcribed by Alexa Clausen 4 �DR: In fact I'll tell you how uneducated I was: I never understood English, I never understood Math. History and other stuff like that, I could understand. When I would do a contract—an estimate, I would do all round numbers, all whole numbers. AC: Okay. DR: At one point I could not subtract 1.99 from 2.00. I had no idea (Clausen and Rios talking over each other) how to move the figures-AC: Well, you know you were a kid that needed to get money and wanted to leave poverty. DR: Yeah, it was field work and I hated the field work. It was miserable. So even when I had my little business going, I decided--I knew a year in advance what I would be doing. I had so many contracts lined up that it became boring. The work just became boring. So I decided in 1962 to go back to night school and get my high school education. Which I did. I did in three years. I went five nights a week plus Saturdays plus TV shows--TV classes. I think I needed 32 credits to graduate, and I think I graduated with 48 credits. The counselor urged me to be class president, I did not have time for that. So then she bothered me so much, eventually I acquiesced to be Salutatorian for the high school class. AC: Oh nice. DR: When I started, I was in the 30-35% percentile. When I graduated, I was 98 percentile. It just came so easy to me. AC: And boy, you sure did the right thing to get more education. DR: More? Some education. I never had it-AC: Well, you missed out on your childhood in a way. DR: I never had a childhood. I never had a teenage life. When we were at home working, picking, we would never start school in September. It was November. Middle of November we started. And then holidays--then Thanksgiving came, you were off two weeks, then two or three weeks, Christmas came. And we’d (not) come back until the middle of January. And then we would leave school in May. I never started school and I never ended school. AC: I had gone to the Latino Film Festival—I go every year with my friend. I can’t sit through too many movies but we saw one (film) that was a--that followed some children and their education, still today, and how the parents do yank them out of school and they’ll go to El Centro or wherever and the kids are constantly in flux. They still—happens to them, they—and then, the teachers have to try and test them and place them and it still goes on. Transcribed by Alexa Clausen 5 �DR: Well that was me, that was our family. We had to survive, we had to put food on the table, clothes on our backs. AC: Yeah, yeah. DR: We owned our own home, we owned our own car. There was no bills there. AC: Well that was, that was more than a lot. DR: That’s a whole lot of story, because this house we’re living in now is part of my mother's wedding present. I can go into that if you want to later on. But I never wanted—and when I had my own little business, big family gatherings at the house, we had a nice house in San Diego. A lot of family gatherings and stuff like that. But I was bored with my job 'cause I would get up 5 o’clock in the morning. Six o’clock I was out the door and I wouldn’t get back until five or six o’clock. When I started Adult School, high school, I would get home at 5 o’clock, 5:30, take a shower, have a little snack, and go to school between 6 and 9. And then get home and study until 1-2 o’clock in the morning. I would do that for-AC: Well see you had the desire, the drive-DR: Yeah. Five, seven days. And then eventually I stopped working Saturday, used to go to Saturday school. So I graduated and then went to college and I was going to study Civil Engineering. Because it seemed to suit me. I was good in Math, I was good in Science, I was good in Chemistry. AC: Did you start at community college? DR: Yeah. Mesa College. AC: Good school. DR: Yeah. I was there a year and a half, and I took—I was taking pretty heavy classes. I went to take an easy class, a Health Ed. class. Taught by a short, stout, female teacher. No term paper, no mid-term, no quizzes, attendance is good, class participation. The only absolute requirement, concrete--you had to have a hobby at the age of 65 and over. She said, “None of my students going out working 30-40 years, retiring and become the wife or your spouse's pain in the ass,” running the house because she has been for 30-40 years. Chauffer, bookkeeper, cook, shopper, maintenance, raising the kids. She said, “My students will not be a burden to their spouses." AC: (laughs) That is so great. DR: (laughs) You will need a hobby. And I had to prove it. And it does not include rock climbing because at 60-70 years old you’re not going to be doing any rock climbing. Transcribed by Alexa Clausen 6 �So in San Diego, at this here store on University where I went to, they had their camera counter right there where you walked in the front door. I’d often stopped and marveled at all these devices. I had heard about 35-millimeter (cameras), had no idea what it was. I had seen this camera with all these numbers on it. And different colored numbers. I often wondered what it all meant. Because growing up in Hanford we had no money for either film or camera or anything else, there were just no--no extras. So I decided to take a adult (continuing education) class at Mid-way Adult High School in photography. I took it for one semester. Now in college I was carrying a 3.54 average. I got involved in photography, it just overwhelmed me. I could not get enough of it. I just started buying second-hand equipment. AC: I don't know if that Adult School is still there. It was there for years. DR: Probably not. At the time I was going out with a woman who I later married. She was taking an art class and I was taking photography on Wednesdays. I got so involved with photography I started buying used equipment, new equipment when I could afford it. I would buy 100-foot rolls of film and shoot that film in one week. I was just drawn into it. AC: Wow. DR: I was just mesmerized. I couldn't get enough of it, it was like an addict. And so I built a dark room in my mother's garage. At that point I had gotten married. Built the dark room in my mother's garage, I would go in at 4-5 o’clock in the morning, process film. Start printing and proofing and looking at my clock, I would have to be at school at 9 o'clock for a class, 10 o’clock at class-AC: I tell young people and my son, go ahead and plan and take your classes but you don’t know what’s going to come your way. Like don’t get so, you know worry, worry, where’s the job, where’s my job going to be. I said “Stop!” It may come to you and I can’t wait to tell him about--’cause I see him tomorrow, but don’t wear yourself down with worry, you don’t know the twist and turns in your life. Look at that! DR: Well, my mother had a saying that most students go to college to study to be a potato and they come out a yam. (both laugh) So my grades plummeted. I would not go to school. I would try to bone up for a test. I would not show up for class. That last semester just was a disaster. Ended up getting I think a D average. 2.0 or 1.5, 2.0 average. Then I switched college, I decided, I told my wife "I think I want to do--” One of the people, while I switched colleges to study commercial photography, and I had the fortunate-AC: You think? Transcribed by Alexa Clausen 7 �DR: I had the pleasure of two teachers, and I talk about it all the time. Civil Engineering is what I really wanted to do but this photography just, as I said, I was just addicted to it. So I enrolled in this college and had Mr. Bill Dendle’s class in photography at City College and Jack Stevens who also taught the upper grades. And I was so fortunate to have Mr. Dendle as a teacher. And he would just--like an addict, just feeding me like poison with the knowledge. Oh god, he was fantastic. My first semester there, I won the Sweepstakes Award and about 30% of the ribbons because we had a photo contest among the students. And the first day of class, about 35-40 people in the class, Mr. Dendle said, “I don't care; sit on the floor, sit wherever you want. By the end of this week there's gonna be half of you and by the of the month just going to be half of (that). At the year there will be maybe five or seven of you left.” And there were only ten of us left that started. AC: Yeah. Yeah. So he knew you had to have the passion to survive. DR: He was, he was--He had a shelf, it must have been twenty feet long by eight feet high full of photo books. And I would go ask him a question, if I had a problem or had a question, he said, “You know that it is a very good question. It's in the books here, why don't you find out. Look for it and find out the answers.” AC: Interesting. DR: And he would do that to me a lot. AC: So he knew that if you would find it for yourself, it would have more value. DR: Oh yeah. AC: And to remembering and keeping-DR: And, one day about noon, I’d finished my work in the darkroom and he came out and says, “Are you busy right now?” I said no. At this point I was twentynine, no twenty-six. I always felt old in class. Kids were 17-18-19 years old. AC: Yeah. Returning students feel-DR: I'm twenty-three, twenty-four, I’m feeling ancient. So I never mingled with students, fellow students. So he came out to lunch and says, “What are you doing?” I say, “I just finished my dark room work.” He says, “Grab a camera and load it Kodalith film and go take a picture of the quad.” I’d never heard of Kodalith film, it's a graphics arts film. Normal speed of film is 100, 400. This was 6 and I had no idea what it was. So I went and got a 4 x 5 camera, loaded it. Thought I was going to take it--I got Transcribed by Alexa Clausen 8 �a light meter, took it to the quad and took a light reading. It was like a five-second exposure, wide-open on the camera. So I had to go back to get a tripod, went and took the picture, five-second exposures. Back in and processed the film. And I showed it to him and says “What do you want me to do with this?” He said, “Nothing, throw it away.” I said “Well what was that all about?” He said, “Some day when you're a professional, you will be called upon to do different assignments. You better be prepared for anything that comes up.” AC: Wow. DR: We had what's called the photographers bible. It was a book, maybe 5 x 7, by maybe three inches thick with every film, every chemical, every processing imaginable. And that became my bible. I would study that thing left and right. Another thing, one year for Christmas vacation he asked me, “What are you doing for vacation?” Said not a whole lot. He says, “I want you--look up this doctor at a biology lab during Christmas vacation. Want you to shoot color slide, color negative, black and white and infrared film. Go to the doctor with it and ask him what he wants. So Christmas vacation I went, found him and he was doing an autopsy on a cadaver with about four or five students. And I had a cold that day. And they are tearing up this body apart-AC: Oh dear god. DR: They’re just carving into him and I am taking pictures all over. And I asked the doctor, “What do you want pictures of?” He said “Dendle said you would just come over, I’ve got no use for you.” (laughs) So I shot all those four types of film. So anyway I learned the man had apparently been an alcoholic. They took out his kidneys and his liver, (unclear) cirrhosis. Little five-foot girl riding her fingers along the tendon from her toes up to his hip and I couldn’t smell anything I had a cold that day. But I found out that your hair grows after you’re dead, because the cadaver's bald and it had quarter-inch fuzz on him. And he mentioned that to the students. Which I didn’t notice. His hair keeps on growing. AC: And you had that-DR: And the fingernails-AC: On the photo. Lucky you! DR: Yeah right. So after Christmas break I took it all to Dendle, all the proof sheets and all the negatives and everything. “Here's the—what do you want me to do with them?” He said, “Throw them away, I don't want ‘em! I don’t even want to see them.” But that was another lesson in that you’re going to be called Transcribed by Alexa Clausen 9 �upon to do—you don't know what you will be called upon to do. And his advice to me was curiosity. Never lose your curiosity. It will take you through-AC: You think about journalism and for newspapers, yeah I mean you could-DR: But I didn't study for newspapers. AC: No, no, I know-DR: I studied for commercial photography. AC: But he had instincts that you—he didn’t know where you ended up. AC: So he wanted to give you like the worst-case scenario. DR: Right. yeah he wanted to prepare me for whatever came. So he came to me second semester, I think. He said, “How would you like a job working in a photo studio? They don't pay much, a dollar and half an hour. But you work any hours you want. Yopu work weekends, nights, whatever. You get the use of all the cameras, all their equipment, all their paper, everything.” Which was at the time photography was the second most expensive class in college. The first expensive class was welding. So I took that job for a photographer named Bob Boyd, who was another teacher, another instructor. The man was a phenomenal photographer. He worked for Reed, Miller and Murphy Advertising Agency. So I did all his processing, all his pictures. I sent out the color stuff to the labs, but everything else I did. I printed all my stuff, I shot all my assignments in the studio. And like I said, I had just got married. Second--the third semester, Mr. Dendle came up to me and says “How would you like a job on a cruise ship?“ I said, “What are you talking about?” He says, “The Director of the Seven Seas College—Seven Seas University? College. They are touring East China, Japan, Vietnam, going down to Australia and up to North Africa for nine months. No pay. Room and Board, but you can take any class you want. Any you're gonna be the ship's photographer. You can take pictures of whatever anyone wants, of anything. You can take classes of anything you want.” AC: Now at this time you had closed down your landscaping (business) or were you still-DR: No. AC: Did you turn it over to your dad? DR: I had. I gave up most of the contracts. I saved some for my dad to work three--four days a week, three days a week at the most. He was getting ready to retire on Social Security. AC: But for your own income? Transcribed by Alexa Clausen 10 �DR: I worked weekends and in the photo lab. AC: So you are still doing both. DR: Yes. So I had just gotten married and I didn't think it was good to leave my new wife. AC: For nine months. DR: And my stepson. He was five years old. For nine months and with no income. No money coming in. So I didn't do that. But my last year, Bob Boyd who used to do filming, used to do commercials in San Diego, plus professional photography, commercial, helped him out a lot--asked me to go up to Hayward, California with him for a week. Now this is toward the end of the semester. To do a job up there, film developer for a week. So I talked to Mr. Dendle, and he said, “Yeah go ahead, no problem. Your year is completed, get out of here.” So I did. And I completed my classes there and I started looking for work. I had my brochure. I had my—what they call a—my book. They had a name for it. With some of my best photography. AC: Like a portfolio? DR: A brag. Called it a brag book. AC: Oh okay. DR: And I had it, put photos back-to-back in a binder – drill holes and put a All of my best photography was in there. My good photos were back to back in a binder—drill holes and put a spiral backing on it. I went all over town looking for work. Commercial studios, portrait studios, advertising agencies, all over town. And they all said the same thing. Your stuff is really, really good, but you don't have any experience. Go out and get a job for a year and come back. So it was at this time that one of the salesman for a commercial photography sales came in. I asked him if he knew of anyone who wanted a photographer, I says I’m looking for a job. He said, “As a matter of fact, I came from Escondido and they are looking for a photographer in the Escondido newspaper.” AC: Perfect. DR: They got a newspaper in Escondido? (laughs) I had no idea, 'cause I was just San Diego. Had the San Diego Union, Evening Tribune. So on Sunday, we drove up here and got a newspaper from the stand. And they (San Diego Union) had gone letter press and they (Escondido Times-Advocate) were still using virgin paper. No recycled stuff. And It was bright white. And the type was just-and the printing was just amazing. I couldn’t believe it. And the photography! The pictures looked like they were actual photographs. Transcribed by Alexa Clausen 11 �AC: You could cut them out and-DR: And I was used to the letter press in San Diego and I couldn’t believe they had the offset press over here. Said, “oh my god!” And the town was little, I think the town (Escondido) was maybe only twenty-thousand at the time, 20-25,000. AC: You know this is a great place to stop, are we good to stop? DR: Oh yeah, sure. Sure, yeah. AC: Wonderful. I’m gonna hit stop. END Interview 03 - 30 -2017 Transcribed by Alexa Clausen 12 � 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 Rios, Dan. Interview transcript, March 30, 2017. Description An account of the resource Daniel Flores Rios, born in Hanford, California. April 10th, 1939 to Theodore and Jennie Rios, was the Chief Photographer at the Escondido Times-Advocate and North County Times newspapers. This interview recounts Rios's childhood and early adulthood, and his personal and educational journey towards becoming a news photographer. As a child and teen laborer Rios, due to extreme heat, convinced his field worker family to leave the Central Valley and join his aunts in San Diego. They moved in 1953. As a 14 year old teen high school drop-out, Rios started his own gardening and landscaping business in La Jolla, California. A client convinced Rios to attend night school to get his high school degree. Rios then pursued a civil engineering degree at community college, eventually dropping the pursuit of engineering when he finds his passion for photography. Rios acquired a degree in commercial and portrait photography at San Diego Community college where he met his mentors. After graduation he sought work as a photographer and landed an interview in Escondido for the regional newspaper, the Escondido Times-Advocate. Creator An entity primarily responsible for making the resource Daniel Flores Rios Contributor An entity responsible for making contributions to the resource Alexa Clausen Date A point or period of time associated with an event in the lifecycle of the resource 2017-03-30 Subject The topic of the resource Agricultural laborers -- California Mesa Community College (San Diego, Calif.) Mexican Americans Photojournalists Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Escondido (Calif.) Hanford (Calif.) La Jolla (San Diego, Calif.) Ocean Beach (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" target="_blank" rel="noopener">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. California State University San Marcos Format The file format, physical medium, or dimensions of the resource text Identifier An unambiguous reference to the resource within a given context RiosDan_ClausenAlexa_2017-03-30_transcript Community history Latine experience https://archivesoralhistories.csusm.edu/files/original/cdd8c927aef587b85a92b296a56ca6e7.pdf 0d2e5dadce6ec7ed34f4621b0a1eec73 PDF Text Text LINDA KALLAS TRANSCRIPT, INTERVIEW 2022-12-22 DC: Good morning. My name is Diania Caudell and I’m, today, I’m interviewing Linda Kallas. [Linda mouths her name quietly in repetition] And today’s date is December 22, 2022. I’m with the North County Oral History Initiative. And it’s a class that we’re both been taking. And so, this is my 2nd interview. And wish us luck here! [All three laugh.] Are you ready, Linda? Here we go! LK: I’m ready! [laughs and tosses her head back, then brushes her hair back] DC: Okay. We’re going to be starting really simple and everything on that. That’s what they told us to keep it going so to make sure that you’re going to be really at ease. And you can smile when you want to, or whatever. So, let me know. LK: Yeah. DC: Uh, just when and where were you born? LK: I was born in Norton, New Jersey in 1953. And we lived there ‘til I was three and then we moved to California. After I was hit by a car—I have the dent to prove it right here— [rubs the pointer finger of her left hand on a portion of her forehead] I was in traction for several weeks in the hospital. And then my father had an opportunity to be in California for a new job. So, we moved out here. My left leg was three inches shorter. I remember the limp. [paddles her hands in front of her] I don’t remember the accident. I remember the hospital. But the limp—The leg grew and caught up with the other leg. So— DC: You want to tell me a little bit more about your family? LK: Um, my dad was a drummer by profession. And then after he had three of us, three children, and we moved to California, then my sister was born. And having four kids—and my mother was only in her early twenties—they got married really young. He finally got a real job, working as a plumber for a big—I think it was Hughes Aircraft. And then it was—we had a lot of turmoil because of his affliction. He was an alcoholic. And mom was a stay-at-home mom. And then I had two—she had two more boys. So, there were six kids in the family. And then they stayed married ‘til I think I was seventeen. And then they divorced. And that was chaos too. But anyway. DC: Anyway. Okay. Would you like to speak of what school was like for you as a child? LK: Well, we moved a lot. So, I went to like seven different elementary schools. We moved all the time. And I have fond memories of elementary. That’s kind of my safe place to go to, remembering good things. Like I had a teacher in third grade that read us The Secret Garden and that sparked my love of reading. She would read to us every afternoon. And I just loved hearing that story out loud, and then the library at the schools. The library was a safe zone for me. School was my safe zone. And I think that’s why I furthered my education because it was something that made me feel good. Learning, I loved learning. So, but, so there wasn’t really anything negative at school for me, other than high school and the cliques and the—you know how that is. [Diania chuckles] I stayed away from cliques. I was friends with everyone. I never fit in to one little group. I just always was friends with everyone. So— 1 Transcribed by Melissa Martin �LINDA KALLAS TRANSCRIPT, INTERVIEW 2022-12-22 DC: On the activities when you were a child, I mean, what were you drawn to mostly, other than the reading and the library wizard? LK: Swimming, because we finally moved into a house with a pool. And I swam every day. That was my—I just loved—to this day, I love to swim. Mom always tried to get me to be like a cheerleader. She forced me to do—it was called “Darby Dolls” [makes air quotes with her hands]. They were just pom-pom girls. [motions as if waving pom-poms] And I was in a parade and I remember just being miserable. Just, that just was not me. Because I was a tomboy. I wanted to do what the boys did, ride bikes. I wanted to have a paper route. Girls were not allowed then to have paper routes. So, swimming was really one of the things I loved to do. And I drew. I always loved to draw. My father also was a visual artist. And I remember watching him paint murals on the wall. And it just seemed magical to me that he could tace this blank space and all of a sudden there’s a bush there or a tree there. So, I think I learned my love of art through him. And that was part of his recovery when he would sober up. That’s what he would do. He would paint. DC: Now, one of the things though, from high school, you went on to college? What— LK: No. DC: No? LK: No. Not right out of high school. [shakes her head] DC: Okay. LK: No. I married my high school sweetheart. [Diania chuckles] Not married right away. We got together in ’71 —’70 was our first date. And then I graduated in ’71. And then we moved in together and we lived in Crestline, the mountains, for almost a year. But we were so dumb. [Diania laughs] We’re southern California brats, right? We didn’t know anything about living in the snow. So, I remember when we got our first electric bill and gas bill. And I went “You have to pay for that???” I thought it just came with the house. [Diania chuckles] So, um, that was quite the experience. And then we broke up for a year and I lived on my own, which was a really important turning point. I became a medical assistant, and I learned that I could take care of myself. I didn’t need to have another person to take care of me. And then we got back together. And then we decided to get married five years later and start a family. So, we have two sons. And that was it! Two boys. That was enough. [both laugh] DC: So, when did you decide to actually go back to school? LK: Not ‘til after the birth of my first son. You know, a lot of things came natural to me, coming from a big family and being the oldest girl. I had to tace care of the younger siblings most of the time. So, the baby stage, and nursing them, and all that stuff came really natural. But when they became—when Josh became a toddler, I was like “Now what do you do with them?” You know, I’d play with them, and I wanted to learn more about child development. That’s what sparked me to go back to school. So, I got an AA in Early Childhood Education. And then I changed fields and worked in that field for years, through my second son too. And then, even when we moved here from L.A., I was a director of a crisis day care center, Casa de Emparo. So, that AA degree 2 Transcribed by Melissa Martin �LINDA KALLAS TRANSCRIPT, INTERVIEW 2022-12-22 served me really well. I was able to make a living doing it. But then, there’s only—you couldn’t go any further than being a director unless I wanted to become a teacher of it. So, then I started helping out at the elementary schools with my boys. And I really loved that. And so, that’s what sparked me further and to get a teaching credential and then wind up teaching for almost twenty years and got a master’s degree in education, so— And I taught Art and Drama at the middle school level. And that was really, really fun. DC: So, did you go to a local college when you were down here? LK: I went to—I got my AA in L.A. at El Camino College. And then when we moved here, I’d gotten my BA—well, I have two BAs at Cal State San Marcos. And the master’s degree—I call it my drive-through. I shouldn’t say this. My drive-through master’s is through National University. DC: So, you were alone out here, right from Cal State San Marcos? LK: Yep. Mm-hmm. I am. DC: Yeah. Good for you. Okay. So, you’re one of the originals that were here on the campus. LK: Yes. DC: It was pretty small. Was it small? LK: Before the campus, they were in the Jerome Shopping Center. That’s where I took my first classes. And I got the teaching credential through Cal State San Marcos as well. It took me a really, really long time because I did everything part-time. I still worked, had the kids, and then did schooling part-time. So, I was 44 before I ever stepped foot in my own classroom. DC: And then after that, you did it for how many years? LK: Almost 18. I was at Jefferson Middle School for almost 18 years. DC: And Jefferson is located where? LK: It’s Oceanside Unified School District. It’s in the older part of Oceanside. DC: And so, up to today you’re still with education in some forms. LK: Yes. I started volunteering at the library, the Oceanside Public Library at the Literacy Center. And I really loved doing that. And then I went to the Mission branch library and got with Jenna Lease. And we created the Art for Older Adult program. And that’s at the senior center in El Corazon. And next year, we’ll be at both senior centers. I also write curriculum which, Mel, my interviewee’s brother [Diania chuckles], he wrote a book called Mel and the Blue Arrow and asked me to illustrate it. So, I did. And so, we’ve been selling that. And then we approached Pablo Tac Elementary School. They recently changed the name to that. And he—I proposed this curriculum based on Mel and the Blue Arrow. And then, with Diania, I put together a coloring book. Diania helped me with the translation. It’s in Luiseño and English. And that’s been very successful. So, the students will get Mel and the Blue Arrow and the coloring book. So, we start teaching there in February. 3 Transcribed by Melissa Martin �LINDA KALLAS TRANSCRIPT, INTERVIEW 2022-12-22 DC: Twenty? LK: 2023. DC: 2023. Okay, when—for me, you know, and in it, being able to interview you, I mean it’s an honor to be with you and learn from you. But some of the questions on here, you know, you’ve been in this region here in Southern California, not just L.A., but down here in San Diego County for how long? LK: Since 1989. DC: So, 1989. So, you’ve seen changes that have affected where you’re living at or in the area. Are any of them for you positive, that you’ve enjoyed watching the change? Or is it some things that are coming through that are—feel like the region is getting too crowded? Or how do you feel about it? LK: It’s so different than when we moved down. Part of the attraction to this, to Oceanside was we lived in a condominium that overlooked the Mission. But that was all fields and there was farmland. And you would walk across the street and buy fresh pumpkins. There was a farm stand. We could walk to the river and float on the river. We can’t do any of that anymore. There’s buildings, buildings. The 76, we moved here before the 76 was completed. And they kept saying “Oh, they’ll never build it. It’s been on the books for years.” Well, they built it. And it was literally—you could throw a stone from our condo. The noise level was unbearable. That’s what prompted us to move to, now we live in a senior community, which is very quiet [Diania laughs] which we really like. And the streets are really wide. [both laugh} The neighbors are really nice. And so, we kind of found our niche there. DC: So, do you have favorite places in the community there in Oceanside or around the surrounding areas? LK: Well, my husband’s a surfer so we love the beach. We go to the harbor quite often to visit the bench of our youngest son. Did you want me to talk about that? DC: It’s up to you. LK: Our youngest son, twelve years ago, was killed in a car accident. And so, we placed a bench at the harbor, right across from the boat launch, in his memory. So, we go there quite often and sit on the bench and talk to Jake. I love a lot of the area there. I love Heritage Park. I love Ivy Ranch Parks. We love parks. Hohomi Park. All the parks we frequent quite often. I enjoy going to the Mission just because of the grounds more than anything. I feel like I’m walking in history when I go there. Having learned what I’ve learned about the Luiseños, it’s a way of honoring the memory of the Luiseños there on that land. It’s sacred land but not sacred because the mission is there. It’s sacred land because there was a village there. And I’ve learned a lot and learned to appreciate history in that way. DC: Well, one of the things that I think I’ve heard you talk about that’s unique is—okay, talk about when you go to the bakery, San Luis Rey Bakery. What was happening there when you first was going through there. 4 Transcribed by Melissa Martin �LINDA KALLAS TRANSCRIPT, INTERVIEW 2022-12-22 LK: Oh. The bakery. [Diania laughs] After Jake died in 2010, the anguish was unbelievable. I’ve never experienced anything like that before or since. And I’ve been through a lot being raised the way I was raised. But that was just—that was like a part of my soul was taken and my identity. All of a sudden, I was searching online all the time for things to get my head on, out of the place it was in, and all of a sudden, this announcement popped up of a flute circle at the San Luis Rey Bakery. And I went [opens her mouth wide as if in awe] “Jim, we’re going to go to that.” [Diania chuckles] So, we went. It was about, not maybe a year later, I think. And Mel is the one that started that. And so, we started going faithfully every month. And little by little just the healing of that sound and the camaraderie of the people, and the friend—They were so friendly. Everybody was just so warm and friendly, and we just kind of felt like we fit there. And so, we went until— It wasn’t Covid hit, really. But through that, I became friends with Mel. That’s where we started talking about the book. And I became friends with Diania and other people, Marge and Rob, and the people that frequent the flute circle. And it just was—had a really, really positive influence on me. DC: Did you try to play the flute? LK: I have a flute and I do have one little tune I keep working on. DC: You should have brought it! [Linda laughs] We could have played it. Now, I’m going to get you to play the flute. LK: It’s not for public consumption. [both laugh] I probably wouldn’t be able to hit one note. [motions with her hands as if pressing on a flute] DC: Yeah. With the, you know, living there in the valley and seeing the different changes. You know, like you just talked about, and the flute circle is not there anymore. It’s not that they don’t want it. It’s just that the capacity and the people have gone on to other things. LK: Mm-hmm. [nods her head] DC: There is a unique area right next door also that you’re involved in. You want to talk about that a little bit? LK: Are you talking about the Miramid Museum? DC: Yes. Yes. LK: With Joanne Tawfilis? Um, yes. Joanne is a muralist. And she does murals for any occasion. But she usually honors, I guess, tragic events. So, if some kind of tragedy happens, she paints a mural. And then, she sends it to that place. The most recent was Uvalde in Texas when that crazy person shot all those children. But I help her with murals. She does other unique things as well. But murals seem to be her niche in life. And she’s also in the UNESCO Peace Center there. And one of these days we’ll have a grand opening, when the landlord signs off on it [motions as if signing something with her right hand] And she does different events there, like her partner is a drummer, so they do African drumming every Saturday. And she’ll have events there to honor things that are going on, like she just did her birthday event. That was quite unique. 5 Transcribed by Melissa Martin �LINDA KALLAS TRANSCRIPT, INTERVIEW 2022-12-22 DC: I know that other things that you work with the community, you know, not just like the Miramid, but I’d like you to stress your art, involvement really with the art. It’s unique, you know, I think. So, you’ve shared other things that I wasn’t aware of, you know. And I think that’s unique for us to learn. But can you specify what you do there at the centers there in Oceanside with the— LK: Are you thinking of Studio Ace? DC: No, no. The one down in Oceanside by the library? What’s that center? LK: Oh, the Literacy Center. DC: Yes! Yes. LK: The Literacy Center, I work with developmentally disabled adults. We started a Read-andDraw Program. So, I did a whole year of character education with them. So, I would bring in posters where they were learning art literacy, visual literacy as well. But each poster had to do with a character trait, for example, like compassion, or caring, or integrity. So, they got a different character trait that they learned. And then we would involve poetry. So, we would write poems. They would do a little drawing lesson and learn to talk about art. And they learned a lot. And so, we’re going to continue that next year. We’re changing the name to, which I really like, “Language Artist.” So, they’ll get—and it’s going to be based on the LeBrons art. He’s an abstract expressionist artist. And so, we’ll look at his art and then I’ll teach them a lesson. And then, they’ll write something. So, it’s all about literacy. And then, also, I’ve been involved with Studio Ace since its inception. I’ve been Julia’s advisor, consultant, whatever you want to call it. I set up programs for her at Laurel Elementary. And before Pablo Tac was Pablo Tac, it was San Luis Rey Elementary. So, two schools I wrote curriculum for, trained two teachers and then they took over. But, after that, I just would kind of consult with her, and we created some classes together for the library. And then I transferred from working with her to working with the library directly. DC: So, there’s going to be some changes in your life soon. But how has your life’s path evolved and changed over the years? LK: I think since I’ve retired, when you teach art or drama for that matter, the last thing you want to do when you go home is more of it because you’re so involved with it all day, seven and a half hours a day. So, that part of my life has really increased as far as my drawing, and doing art on my own, just for myself. But now, I want to tace that venture a little further and I’m going to—well, I’ve opened my own business. And so, I’m still going to be offering all the same things I offer right now—workshops, art lessons, curriculum, whatever people need, healing arts. I have a whole repertoire of stuff that I can offer. But it will be under the title of “Floating Hearts Connections.” And even that has meaning to it. Floating hearts is actually an aquatic plant, and the leaves are shaped like a heart and then this little yellow flower comes up. And it has five petals. And that has meaning to me because I told you before, I love to swim. Well, when I’m done swimming, my favorite thing to do is to float. And so, with that in mind, I was looking for names and talked with my husband, talked with you, talked with Mel. And they said—all of you said I have to include something heart felt because that’s what I do. I collaborate with people and provide healing through the arts. And so, when I found that, I went “Oh my gosh! Heart, floating, 6 Transcribed by Melissa Martin �LINDA KALLAS TRANSCRIPT, INTERVIEW 2022-12-22 arts” and then the connections that I make. And floating is an acronym also for the love of hearts in teaching. So, it all just kind of fits it. And so, I have a little logo that I’m working on, and I have the business license. And I’ve got the insurance. I’m a vendor with the city of Oceanside now. So, eventually I’ll do a website and have like business cards. I’ll be all official. [Diania chuckles] So, I can go anywhere and do it. I don’t have to just stay in Oceanside. DC: Are you going to, at some point, be part of that art—is it the art walk, or whatever it is there in Oceanside with a booth or anything showing— LK: Oh. (sighs) DC: —what you’re going to be doing? LK: I hadn’t thought about doing that. DC: Yeah. LK: Maybe. I don’t know. It’s on my favorite— DC: Floating hearts. I can see it already, you know. I picture it, you know, on your canopy and the whole thing. LK: Well, Diania, to tell you the truth, I hadn’t considered it. [Diania laughs] But I do reach out to the organizations. Like I did a mural for Ivy Ranch Horse Park. And that was successful. And then Preserve Calavera, I did one. So, I do reach out to other organizations. But I hadn’t thought about doing it monthly at Art Walk. But I will consider it. DC: And once you get your logo going. LK: Yeah. Yeah. A lot of the stuff I do is volunteer. DC: Oh, yes. Yes. LK: So, that I think you have to pay. I’m not sure. But I can find out. I may have to pay for a table to do that. But I don’t know. DC: [chuckles] We’ve got some more things in there. LK: [coughs] Excuse me. DC: Some of these questions that I’m reading for this class and things, you know, I can talk more, and it depends on how personal you want to, you know, get into there. LK: Mm-hmm. DC: Like is there any mentors that you had through your life that have gotten you, you know, from one stage to another? You know, you can go back on— I look at it, you can go back on your life and, you know, from your childhood and, you know, the turmoil at one point. And you must have had some type of mentor. You did mention a teacher, you know, at that point. LK: Mm-hmm. 7 Transcribed by Melissa Martin �LINDA KALLAS TRANSCRIPT, INTERVIEW 2022-12-22 DC: And then, almost everyone had some type in their stage that they don’t realize. There’s that mentor or that one person that it made a difference, either by saying something or doing something. Is there any mentor that you feel has helped you throughout your life? LK: That encouraged— DC: That encouraged you, that have gotten you to where you’re at today, and you want to speak about them or just mention them, you know, there, and how they helped you at each different phase in your life. LK: Well, dad was probably my first inspiration. Like I said, it was magical to watch him paint. Mom discouraged it. She didn’t—I guess she was worried that I was going to tace a path of no return or something. But she always wanted me to become a professional person. And it was interesting. We had a conversation on the phone one time. She said, “I always thought you’d be this professional businesswoman.” And I started laughing. And she’s all, “What’s so funny?” I said, “I am a professional, mom. I’m a teacher.” She goes, “Oh, not that kind of profession.” Like it was—she kind of thought of it as babysitting, I guess, in her own mind. She never looked at teaching as a profession. So, I think that got my dander up even more as far as “Well, I’ll show you.” But then, in college, I had many professors. Deborah Small was one of them, Eureli Arizmendi, many professors that saw talent and encouraged it in me, gave me more confidence, especially with theater. Eureli is a professional actress, and she was the professor there at Cal State San Marcos for a while. Her classes were fantastic, and I had a starring role in one of the plays we performed around the city. But Deborah Small, she kind of ventured off into computer art, which I found was not my niche. I preferred drawing. I’m a drawer. I don’t consider myself a painter. I draw everything. I can paint, and I can use color. But there’s something about a pencil and paper I love. So, there were colleagues, principals that I worked with that saw in me things that I didn’t know I had. But, most recently, it’s been people like you, Diania, and Mel in particular, Joanne, my husband, my son. My grandkids, Ty and Katie, are very important influencers in my life. And they’re like my biggest fans, so a lot of family. But a lot of—I think the friends I have now are the closest friends that, compared to past friends when I was younger, it’s different making friends at this age. It’s a much deeper level or something. It’s not superficial at all. So, I thank all of you for that. But I think the one who has pushed me the hardest has been your brother. DC: (laughs. Linda nods her head.) Well, he’s, to me—I’m just going to let you know—this was the interview going back and forth, and we’re talking here—is that he sees something in you, and he connect. And I think it’s the—you both are talented artists. He’s in the music field. LK: Mm-hmm. DC: And you show at your artwork, you know. You can express it through art. He expresses himself through music. LK: Yes. DC: And I think the two of you make a good compare because you bounce off each other, like brother and sister. It’s, you know, on that. 8 Transcribed by Melissa Martin �LINDA KALLAS TRANSCRIPT, INTERVIEW 2022-12-22 LK: Mm-hmm. DC: It’s not like, you know, husband and wife. It’s more like a brother and sister type of thing. LK: Yeah. Yeah. DC: And you’re, you know—it’s good. And you can speak freely to each other, and it’s good. I think I’ve seen the growth in both of you on that. There’s other things that you have joined us with, you know, but you don’t mention it. You want to say another type of artwork that you try to get into (laughs). LK: Yeah, absolutely. But that’s only through you trusting me and seeing something in me that I didn’t know there either. Like basketry has been phenomenal. I just—I love it! And I love the process. I love watching the people do it. I enjoy helping you, and just the joy it brings people to put together a basket. You don’t think about that as being something people will be drawn to. But they are. And they’re just kind of one with their basket as they’re creating it, and the joy that is coming from them and the healing. Because like I tell my students, when you’re doing art, any kind of art, it’s just you and that piece. Whatever it is you’re working on, your mind is still going, and the problems are still there. But it takes a back seat because you are so focused on what you’re creating. And that’s where the healing begins, is—And basketry is like that. Something about going over, under, over, under (laughs) and getting it right, getting the tension right. It’s so important. It’s just really—The other thing that we’re involved in is the Valley Arts Festival which is—Julia started—well, she got a grant. And when she got the grant, she wanted to know what we should focus on. And her and I had talked about different cultures for many years. We wanted to do these things. And so, I mentioned the Luiseños because I’ve become close with you and Mel. And so, I introduced Mel to her and you to her, I think. And that’s where it went. We just started meeting and planning the Valley Arts Festival which is—We just did our second one, and it was a huge success. And so, hopefully, that’s going to continue every year whether she gets that grant or not. We need to continue it because we’re educating the community about just acknowledging the fact that the Luiseños were here ten or twelve thousand years before the encroachment of the white people. (both laugh) DC: It should be that way. But when are you going to go? I knew you’d say something about the basketry, you know. But that’s not the Luiseño. That’s not our traditional. That’s more the Cherokee style. What do you feel about learning when you have to sit down and you’re weaving with us, with traditional? LK: That is a challenge because the materials are so—You’re very precise about what materials are used for what part. And it took me a long time to learn even the names, the juncus, the—wait a minute. I’ll get it in a minute. DC: (whispers something) Yucca. LK: Yucca! (both laugh) That is the one I always forget! Always. But what you use for what part of the basket. And the starting is difficult, but I find the weaving, getting it precise and even and even the width of it. Like I have to take it out because the one I started is—I went too thick too soon. But the beauty of it and using the natural materials, there’s something about manipulating that natural material. But what I focus on when I’m working with you, I think this is what they 9 Transcribed by Melissa Martin �LINDA KALLAS TRANSCRIPT, INTERVIEW 2022-12-22 did. They had time to do this, like and it was important because they used—They were functional art. They used the baskets for everyday things. And our culture, we just go and buy what we need. We didn’t have to worry about sitting and making something that could hold berries or hold whatever it was you were going to gather. It’s fascinating to me to be able to learn to do that. Because you can buy a kit and do a little basket online, you know, buy a kit online and do a basket. But to do it from the natural materials—Because you have permission to go and gather that material, the real thing, authentic. I guess that’s what it is. It’s the authenticity of it. That’s what’s so wonderful about it. DC: On some of the bigger picture here, what do you think some of your greatest accomplishments are, you know, up to this point in your life? What do you feel? LK: Uh, it’s hard. You know me, Diania. I’m not (unintelligible word). DC: I doubt, I mean, you know—when you think about your greatest accomplishments, you lost one. LK: Well, my two sons, absolutely. My two grandchildren. I have two step grandsons now too. My son is remarried. I’m really proud of all of them. They’ve come so far. But in my working world, I think some of my greatest accomplishments were getting Teacher of the Year three times and being runner up for county Teacher of the Year. I came in second or something like that. That was very—I was really honored by that. And so, I’ve gotten a lot of awards for teaching. And so, I’m proud of that. What I’m learning to become proud of is my own artwork, believe it or not. I’m not one to brag or toot my own horn but I am progressing, and I am getting much more confident about creating my own art. DC: But do you have any plans still for your life, you know, in the future? I mean, you’ve gotten your business. Now you’re doing this. Do you see the plans, how it’s going to go into the future? I mean, how’s it going to broaden for you in helping you within in your, you know, I’d call it your second career, your third career. How do you feel about that in your life? LK: What are my hopes for that? What do I hope to achieve? DC: Mm-hmm. LK: Long range goal, I would love to create a website and be able to market things that I create like the curriculum. I would love to market the Mel and the Blue Arrow curriculum because I think it’s really good and solid. And I would love for teachers throughout the county to be able to use it, particularly in North County where the Luiseños—this is the traditional land—because that will further the education of the people that live here, of the people that were here prior to us. And learning how they lived and honoring them as a people instead of somebody that we just kind of pushed out of the way is what I feel like we did with the indigenous people. And then, possibly, I’m writing another book. It’s called The Adventure of Big Pig. It’s about a guinea pig and that’s in honor of my sister who is suffering from a fatal illness. And I hope to get that done before—And even if I have to self-publish that as well, I will, just so she can have that. And I’m really close with her. She lives in Colorado. So, this is a difficult time. But that’s in honor of her. So, things like that. I hope to further writing. I write an article a month for Indian Voices, thanks 10 Transcribed by Melissa Martin �LINDA KALLAS TRANSCRIPT, INTERVIEW 2022-12-22 to your brother Mel. [Diania chuckles] And that’s been challenging but also uniquely fun. It’s fun on a different level. DC: What do you think—Not to wrap it up or anything but is there any regrets within your life or you could have changed something differently at any point, you know, in your life? I, you know, I don’t like asking that question, personally, because I don’t think people should have regrets. But some people can look at life differently, you know. And it’s hindsight, but you can’t change anything. But is there anything that you would probably feel that could have been better or you could have did something differently? LK: I don’t look at it as regrets. I look at the past mistakes that I made. I would have made— There are different things. I would have made different choices. But what I’ve learned, by the age of 69, is all of those mistakes and all of the experiences you go through is what brings you to where you are right now. And had you not gone through those trials and tribulations and the mistakes, you would be different. I would be different. So, I have a different philosophy about it now. I just think everything we go through in life is going to take us to a different place and change us in a way that we need to change. And I also have learned through yoga and meditation to be grateful for even the bad things because it’s an opportunity to learn and it’s an opportunity for growth. And that’s kind of how I view things, and I wake up feeling grateful and I go to sleep feeling grateful. And I think that’s a gift we give ourselves because when you’re grateful, you can go out in the world and share that gift with others. And so, I try to practice that daily. So, yes, mistakes, but we all make them. We’re only human. [Diania chuckles] What do you expect from us? [Both laugh] DC: Is there anything that you want to let the people know that, you know, when they do view this recording and you’re going to be put in an archive. And if a student comes by or another person comes by and wants to know who Linda Kallas was and what she had done, is there anything you want to share with that person or group in this interview right now. You did do a little bit now, but is there anything more you want to say to kind of wrap it up to where you feel why this was important to do? LK: Well, I think one thing would be never, never give up. Never quit on a dream or an aspiration. You’re never too old to try something new. Never. Unless you physically cannot do it, physically. But, you know, to always keep learning in any capacity you can. Pursue interests. Pursue what interests you because there’s so much out there to gain knowledge on. But never give up. Never quit. You can’t quit. I sure wanted to when my son died. But I didn’t and I’m glad I didn’t. And everything I do now is in honor of him and the love for him and the love we shared as mother/son because that does not die. The physical person goes away. But the love you share with another person never dies. DC: Well, thank you, Linda. I really enjoyed doing this and I enjoyed my friendship and everything. I hope it’s going to continue on. And so, we both have grown together and shared some things that I know you didn’t share with, you know. We’ve got De Loos. We’ve got different places I’ve taken you, regarding into the Indian world, or you want to say that on there. But I’m going to wrap it up and say “Noh, shalovik.” LK: Noh, shalovik. 11 Transcribed by Melissa Martin �LINDA KALLAS TRANSCRIPT, INTERVIEW 2022-12-22 DC: Noh, shalovik. LK: Thank you so much, Diania. 12 Transcribed by Melissa Martin � 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 Kallas, Linda. Interview transcript, December 22, 2022. Description An account of the resource Transcript of oral history interview of Linda Kallas, December 22, 2022. Interview conducted by Diania L. Caudell. Linda Kallas is a retired middle school art and drama teacher who has collaborated with other local artists and authors on a variety of endeavors, including illustrating "Mel and the Blue Arrow" written by Mel Vernon (Luiseño). Kallas and Vernon also collaborated on a Luiseño/English coloring book and on an arts integrated curriculum taught at Pablo Tac Elementary School in Oceanside. Kallas is also on the committee for the Valley Arts Festival that celebrates Luiseño culture each November at Heritage Park, Oceanside. In her interview, Kallas talks to Diania Caudell about topics such as family, school, higher education, post-college life, and her various art and cultural projects. Creator An entity primarily responsible for making the resource Linda Kallas Contributor An entity responsible for making contributions to the resource Diania Caudell Melissa Martin Date A point or period of time associated with an event in the lifecycle of the resource 2022-12-22 Subject The topic of the resource Arts education Basket making California State University San Marcos Death and remembrance Education -- Native Americans Illustration of books Luiseño Indians Pablo Tac Elementary School (Oceanside, Calif.) Valley Arts Festival (Oceanside, Calif.) Women artists Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oceanside (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. Linda Kallas 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> Format The file format, physical medium, or dimensions of the resource text Identifier An unambiguous reference to the resource within a given context KallasLinda_CaudellDiania_2022-12-22_transcript Art and artists Community history North County Oral History Initiative Women's experience https://archivesoralhistories.csusm.edu/files/original/350ab5bf49cba0e9a4a923eb587611ce.pdf f11c38b6b10d6cbed0c2b9dd40740984 PDF Text Text RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Judith Downie: 00:00:00 Okay. It's July 9th, 2017.1 This is Judith Downie interviewer, with Rich Link and Mary Anne Bixby and Greg Lorton, all QUAFF members, former officials of QUAFF, for oral history about their experiences with homebrewing and QUAFF. 2 It should be able to pick up everybody. So basically, you know, you can kind of look at those questions I gave you. You can start talking maybe from, how did you start homebrewing? What got you interested? Rich Link: 00:00:40 Well, I liked beer. And I saw something on TV one day and I saw something in a liquor store and it had a recipe and I said, “You can actually make beer at home?” And then I just looked in the yellow pages and there was Wine Art at the time over here on Fletcher Parkway.3 And, uh, that was in 1980 as I recall it. And at that time, homebrewers essentially made a five-gallon batch with a can of malt and four pounds of corn sugar, holding back a cup of corn sugar for bottling. For the bottling. And it was okay. It was as actually better than, you know, the mass-produced beers here in the United States ‘cause you know, we just couldn't take that stuff anymore. 90% of what I would drink would come from England and Germany. And at that time those were really good beers. Downie: 00:01:54 And where were you finding these beers? Link: 00:01:56 Yeah, in liquor stores. Yeah. Like that time, I think we had like Liquor Barn and some of the little hole-in-the-walls would have some good imports, but you know, it was like some beers were like $10, $12 a six pack and that was pretty expensive. You could make about two and a half cases of beer for about $10 or $15., seems like. Yeah. You know, I remember my first batch very, very clearly. It was a Pale Ale and it got all funked up with the yeast and it was cidery and it's like, “Okay, but you know, there's still something behind there that tastes really good.” It actually had good malt flavor and some hop flavor. Had no idea what the hops were because we just bought a bag that said ‘boiling hops’ and another one that said ‘finishing hops’. [Laughter.] Greg Lorton: 00:02:56 But you made it. Link: 00:02:58 Yeah. And it was cool. And I remember when the fermentation took off and you'd see the head on the beer. It's like, “Wow, that's pretty cool.” Smelled amazing. Bottling sure was a pain in the butt. Mary Anne Bixby: 00:03:12 It always is. Recording on front exterior patio of Burning Beard Brewery in El Cajon, there are periods of traffic noise which interfered with recording. 2 Quality Ale and Fermentation Fraternity home brewers club. 3 In the 1980s, Wine Art was a nation-wide chain of supply shops for home wine making. It was located on Fletcher Parkway in El Cajon, California. 1 Transcribed by Ernest Cisneros and Judith Downie 1 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON Lorton: TRANSCRIPT, INTERVIEW 2017-07-09 Yeah. That's the one thing that pushes me towards Rich and uh, yeah. Mary Anne, what about you and Bix?4 Bixby: 00:03:28 Well, my first experience with home brewed beer was in college and it wasn't my own, it was friends' and the guys had made this beer that they had in mason jars. It was all cloudy. so, it was very yeasty. That part I remember very well and it was awful. It was awful. I think all I could say was give me a glass of wine. Lorton: 00:03:51 Were you a, you were a chemistry major? Bixby: At one time. Lorton: Okay. At Purdue? Bixby: At Purdue. Lorton: Okay. Bixby: 00:04:00 But, when I got married, we were winemakers and we started out with Wine Art in Chicago and they had these plans where you could make four wines and they had the classes and… Wine Art at that time was, like early seventies, not into beer that much. They had some cans of malt on the shelf, but nowhere near what we have available now with yeasts and the hops and so on. So Bix and I were making wine and he did try beer once but it started exploding in the basement. So I think we dumped most of it out. Link: 00:04:39 I can’t tell you how many times I've heard that story about exploding beers. “Oh yeah. My uncle used to make beer. It used to explode.” Man, I never had one explode. Lorton: 00:04:47 Yeah, I would wake up in the morning, go out in the garage and “Hmm. Smells like malt.” Bixby Oh oh. Lorton: You look at the shelf and there's stuff dripping down, a wet spot with bottles there and there's one bottle that looks a little shorter than the others. And yeah, it blew apart and the top sank down. Yeah, I had. And it wasn't until, you know, I never had that with an extract brew. But once I started all grain brewing… 4 Bix is the nickname for Mary Ann’s husband, Horace Bixby, another early member, deceased. Transcribed by Ernest Cisneros and Judith Downie 2 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Lorton: 00:05:21 I never had a bad extract brew. I never had great extract brew. But once I went to all grain, I had some really good ones. Some pretty bad ones. [Laughter.] So now when was this all this wine making stuff? Bixby: 00:05:45 Well, in the 70s and then we moved here to California in ‘75 and we started with the Wine Art again with making wine with their program. And then all this stuff started appearing on the shelves and Bix got interested in the beer, and before you know it, he was making beer and also we joined QUAFF. And that went that direction totally. I think we only made a few wines after that; it was all beer. Downie: 00:06:20 So, my understanding is that Audrey Eckblom and Owen were kind of the nucleus of the startup QUAFF. But I have not been able to reach Audrey and I know she's in Nevada and I tried to call her and I've tried writing her and don't get a response. So, what do you remember about beer in Wine Crafts? I know she took it over when Wine Crafts decided to close the location and she became Beer and Wine Crafts. But you know anything about her history as a brewer or anything like that? Lorton: 00:07:02 Yeah, I moved down here in 1988 and I was living in Carlsbad, but that was the only place to go. And they opened a second shop in San Marcos. Probably in the, I'm thinking, uh, mid-nineties… Link: Mid-nineties, something like that, 1995. Lorton: Yeah, it was you know, I can show you exactly where it is in San Marcos. Link: I remember it. Lorton: But I mean that was a lot closer for me. Yeah. It was near Bent Avenue. Bixby: 00:07:42 Well before Audrey and Owen had the place, there was, it was owned by somebody named Peter, I think it was Peter, his name. And he I guess got out of the business, I don't know, cause then it was Audrey and Owen and she was pretty, she was really very helpful. Link: 00:08:02 She used to make wine. She was actually an employee there. And I remember the girl that was one of the owners, she had an accent. I don't remember her name, but it was shortly after that that they, Owen and Audrey bought the place from her. Now Owen was actually a beer judge. He, he knew beer. Bixby: I didn’t know that. Transcribed by Ernest Cisneros and Judith Downie 3 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON Link: TRANSCRIPT, INTERVIEW 2017-07-09 Yeah. Now, I don't know about any accreditation. It certainly wasn't with the AHA, but, he was labeled a beer judge.5 So yeah. I was a pretty good beer judge myself from college days. Downie: 00:08:45 Well, accreditation would have been maybe a little bit later because it was Carter's era that, even home brewing was legal again. So, you really couldn't probably do accredited judging until, you know, you'd had a few years being legal again. Link: 00:09:00 I don't remember when the AHA started, but I think the legalization was in ‘79. Yeah. And that's when the bill by Alan Cranston.6 Yeah. Downie: 00:09:16 He signed it and Carter signed it in ‘78. Link: 00:09:20 The US bill started by a Senator in Wisconsin.7 Downie: 00:09:28 And then everything winds up having to come down to state level and then county level and city level. Lorton: 00:09:33 But California was at the forefront of that kind of stuff. So. Yeah. Downie: 00:09:40 And so Rich, you were telling Greg that you were the third QUAFF president who was president number one and number two? Link: 00:09:47 So, president number one was Greg Schwaller and so now I wasn't there. So a lot of what I get is from Bob Whritner. Lorton: 00:10:02 And I have an email from Greg Schwaller going the fact that your part of that where he was, you know, kind of you're remembering what the original, he was the one who came up with the name of QUAFF. Bixby Interesting. Lorton: And he was citing a verse from Poe, Edgar Allen Poe as the source. And what they were doing is they were thinking, you know, all, most homebrew clubs have some clever pun-related acronym. And, you know, they felt that, well, QUAFF is, let's think of something that QUAFF sounds like a beer-drinking term. So, let's come up with some words that fit that. So that's where Quality Ale Fermentation Fraternity came from. Unfortunately, Bob gave me some stuff that documented all of that. It was like the originals. I gave it to Peter and I'm not sure if it still exists. 8 I meant 5 AHA is the American Homebrewers Association. Cranston’s bill was specifically for California. United States (Federal level). 8 Peter Zien 6 7 Transcribed by Ernest Cisneros and Judith Downie 4 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 to ask Peter when I last saw him, but you know, it actually has the legal yellow pad where it has the names of the… Downie: 00:11:17 Bixby: Lorton: Oh, you need to ask him. 00:11:20 Link: Lorton: Yeah. I have to ask Peter. Yeah. Peter Zien, [several people talking] you know, I meant to ask him. Judith and I talked with Peter a couple of weeks ago and I forgot then I [inaudible]. Peter's birthday party, I forgot. That was a busy day. 00:11:41 Downie: Lorton: Is this is Peter Zien? Yeah. And I'm hoping they still have it. Yeah, I've still got the oral history to arrange with Peter and Vicky, so I'll put that on my list to ask as well. 00:11:54 Yeah, I guess Greg Schwaller now, lives, I think at Three Rivers, which is near Sequoia. At least that was where he was I think 2010 or so. Link: Okay. Bixby: Gosh, that's a long time ago, yeah. Link: 00:12:09 I thought Bob, last I talked with Bob, he thought he was up Montana or Wyoming or something like that, but who knows. Lorton: 00:12:19 Yeah, I can send you the email that has that. Downie: 00:12:20 That would be lovely, yeah, that'd be a real touchstone for QUAFF’s history. Lorton: 00:12:26 It would because I, I never met him…met Greg. Bob is, Rich and Bob or someone Bixby: Who was after you? Link: After me? Skip.9 Lorton: Who was before you? 9 Skip Virgilio. Transcribed by Ernest Cisneros and Judith Downie 5 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Link: Paul Wesley.10 So I remember when QUAFF was starting because Owen tried to get me to go to the meetings. At that time, I wasn't really interested in, it wasn't all that interested in joining or being part of things. So… Bixby: A loner type, huh. Link: Well yeah. But I do remember him telling me, you know, we're having a meeting down at, it was Old Columbia.11 That's what everyone called it back then. And it was before Chris really wanted to stress the Karl Strauss part of it.12 And then I still didn't want to go. I mean, their beer wasn't all that great. Why would I want to go all the way downtown? Downie: 00:13:29 How much was gas a gallon then? Link: 00:13:36 Yeah, yeah, 30 cents. But then, you know, like I said, Paul Wesley followed Greg. And Paul lived out here in Lakeside, and then Owen and Audrey kept working on me and working on me. And then finally they convinced me to go to a meeting at Callahan's.13 At the original Callahan's, this was in 1990. Bixby: 00:14:03 That's your first time you went? Link: 00:14:09 Uh-huh. And, you know, after like two to three meetings, you know, Paul pretty much recruited me to take over. In those days you needed someone, you know. And so, he kind of felt that I was trustworthy and knew some things. But the club at that time was, I mean we had it from, most of the guys were, like I talked about earlier, the extract corn sugar brewers who are really interested in making liquid alcohol for as cheap as they could make it. Link: 00:14:44 And cheap was like the number one priority, truly. And I'm not trying to just make fun of these guys, but that was it. Yeah. They can make 10 cent pints of beer, man, they were in heaven. But we also had guys like Vinnie Cilurzo, and John Thomas and Bob Whritner and Greg Schwaller, some of the guys who really knew what they were doing, you know. So that was pretty cool. And we'd have a little corner and bring in beers and taste them and give remarks and stuff. And that was all pretty cool. But there was a great deal of the club at the time that was not interested in going beyond, you know, the kit type mentality. And I was. In fact most of the guys had never even heard of the AHA. That was kind of my goal is get involved with the AHA more. Wesley served as second QUAFF president. Karl Strauss’ Old Columbia Brewing Company. Original location on Columbia St. San Diego. 12 Chris Cramer, co-founder of Karl Strauss Brewing Company. 13 Callahan’s Pub & Brewery on Mira Mesa Blvd, San Diego. 10 11 Transcribed by Ernest Cisneros and Judith Downie 6 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Link: 00:15:39 And that was when we had our first club-only competition and it was a pale ale and Whritner, Bob Whritner, was our representative and he got a second place on the national level in that competition. That kind of lit everyone up cause “Look, we do make good beer and we can get some recognition, let's go for it.” And things got pretty exciting at that time and, beer kinda got better. And you know, we had recently come across liquid yeast, you know, a couple of years earlier, it seemed like it was ’87, ‘86, something like that. So beer was getting much better and a lot more fun to brew. I remember making great wort, just absolutely great man, this is the best beer I've ever made. And then throwing in the packet of yeast and when it comes out and like crap. It's just very disappointing. And then Wyeast was the first pack of liquid yeast I remember.14 In smack packs.15 Lorton: 00:16:48 Is Bob still around here? Are you still in contact with him? Link: 00:16:52 A little bit here and there. They spend, I'd say 90% of their time up in June Lake, but they do have the place in Rancho Bernardo. Lorton: 00:17:00 Yeah, I mean Bob would be a good guy to talk to you. I mean, he's really a colorful guy. I think he's an ice scientist or something like that who would go on cruises to research the Arctic. And alcohol is not permitted on a ship, but you've got a bunch of scientists who are really creative, so yeah. Bixby: Better than prison brew. Lorton: Yeah. He would tell me about the breweries or the places to get beer in Tromsø, Norway. You know, some of the story, and Bob is such a funny guy. Somebody was talking about Bob at Peter's party too, it may have been you. Link: 00:17:50 Downie: Bixby: Yeah, it was probably me. We had dinner with them and Skip and Mary last summer. Okay. About a year ago. Yeah, he's 80 years old now. He's getting along a little slower as people do. Yeah. Honestly, you can remember, remember what happened. That's it sounds like he's probably, yeah. So he's definitely on my list of people to approach. Mary Anne. When did you join QUAFF, you and Bix? 00:18:24 I think it was like ‘92 or so but I remember going to meetings at La Jolla Brewing on Fay Street.16 Yeast laboratory. Smack-pack yeast packaging contains an internal activator packet to break open before adding to the wort. 16 Fay Avenue, La Jolla. 14 15 Transcribed by Ernest Cisneros and Judith Downie 7 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Link: Yeah, we moved there. Because Callahan's was too slow, too small. Bixby: So you went from Callahan’s to La Jolla and then back to Callahan’s. Link: Yeah. And then the PB Brewhouse.17 Lorton: 00:18:48 I remember my first meeting was at PB Brewhouse, but it was there because Skip was the brewer there and he was doing a tour. And that was probably May or June of ‘94 because I was lucky enough to win best in show for the AFC.18 And so they said, yeah, why don't you come to a meeting? But I think the normal meeting place at that point was La Jolla Brewing on Fay Street. Yeah. Bixby: 00:19:21 That's where I first started. Yeah. That little back room. Isn't that where you gave your slide presentation on? Link: 00:19:26 No, the slide was at the expanded Callahan's. Well, when we first started at Callahan's, it was just that one room and we couldn't close it off to the public, you know, so we'd have our meeting and the public and it was not, just not. Downie: Not when you are passing out beer. Link: Well, and the club started to grow. I mean we would have, you know, a lot of nights we'd have 15 or 20 people, but then there was one year at the Del Mar Fair where it got a lot of visibility and the next meeting there was like 40 people and it was like standing room only. It's like, wow, we can't do this anymore. And, and, and La Jolla Brewing Company was just opening and they had a nice big back room. It's like October of 1990. And, so then we moved there. They only lasted a year, a year and a half. And Callahan's had expanded so they had a room that they could close off for us. So that was nice. So we went back there and then, then PB Brew House had, but we actually met in the brewery as I recall it. Didn't we? Lorton: 00:20:48 I remember Skip. That first meeting, that was the only QUAFF meeting that I went to that was PB Brew House. But Skip had a tour. Link: They weren't there very long. Lorton: No. And Skip was, he was the president at the time and you know, showing how everything was done. That's the only, only time. And again, that was May or June of 1994. 17 18 Pacific Beach Brewhouse, on Mission Boulevard, San Diego. America’s Finest City home brewers competition. 1994 was the first year. Transcribed by Ernest Cisneros and Judith Downie 8 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Bixby: Was Dion after Skip then?19 Link: Yes. Lorton: I think Ted Newcomb. Link: Oh, Ted. Bixby: Oh, Ted. And then Skip then Dion? Lorton: Yeah. And then Todd. Link: I think Ted was a one year. Lorton: Yeah, I've got a list of who is president after from Skip on. So, when I get home I'm now going to pull it out [inaudible]. Downie: Wow. Yeah. That's so great. At what point would you say QUAFF actually formalized, ‘cause you said you were kind of recruited into the presidency and it sounds like maybe you kind of recruited Skip to be your relief at some point. Link: It’s kind of still that way. [Laughter] Bixby: Are we really formalized? Link: What does that mean? Downie: Bylaws… Lorton: 00:22:00 You know, Rich will go to the restroom. Okay quick. Let's decide on president. Rich. Oh, it's unanimous. Come back from the restroom. “Hey Rich, congratulations you’re president.” Downie: The moral there is don't leave the room. Lorton: Yeah. You know when I became president and Peter was the president, it was Todd Fitzsimmons then Peter and then me. But it was always the case as well. You know, Peter's kind of taking over the stuff that Todd was doing. So Peter is kind of a natural guy for that and I think I kind of fell into the same thing. And Harold Gulbransen was after me and so he got in there and then Bob McKay. 19 Dion Hollenbeck. Transcribed by Ernest Cisneros and Judith Downie 9 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON Bixby: 00:22:25 TRANSCRIPT, INTERVIEW 2017-07-09 My impression has always been, the president has always fallen into that position. It's like, man… Link: I think there was one year. Bixby: willing to do the job to, to pick up, you know, to take up the reins and go for it. And, and we've been very, very fortunate in my tenure. I mean, I mean my time with QUAFF to have some really good people dedicated. Link: 00:23:11 But there was one year where we had a vote at a club vote. Bixby: Oh you remember that, who was this then? Link: Well, I think that was Skip’s second term, but we dodged the bullet. And I think that thought, cause I was, when I handed it off to Skip, you know, we would have essentially closed board meetings and I said “I nominate Skip.” And that was pretty much it. Yeah. Yeah. And then something came up about voting for it, and it was hard to, hard to argue on that point, but we did. But boy, there was something close. I remember that was something that was averted. Link: 00:24:05 Bixby: Yeah, but since then I remember, I think when Todd was president, there was some kind of czar-ish directive. [Laughter] Czar-ish, it that what you said? Lorton: 00:24:22 Well we, you know, when I was on the board from the time I was the newsletter editor from ‘96 on and ‘til I became president, but it was always a board decision on what the officers were going to be rather than, and we would put it up to the meeting if, you know, the board has decided that this should be the slate of officers. Does anybody have any objection or, you know, I think, I can't recall if we actually said all those in favor, say aye and everybody would go “Give me another beer, aye.” You know? Downie: 00:24:56 Then everybody had an opportunity to say something, so it wasn't completely closed or anything. Lorton: 00:25:01 Well, and the other thing is that the people who were really interested in how the club was running were the board members. Bixby: 00:25:07 That's true. Yeah. No, that's a good statement. Yeah. Downie: A process of natural selection. Bixby: Yes, and those who are actually doing most of the work. Transcribed by Ernest Cisneros and Judith Downie 10 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Lorton: I think that’s the way it continues now. Bixby: Yes, and we've tried to get more newer board members, we want QUAFF to continue. Downie: Right. Bixby: And we've been throwing it out there over and over, you know, but people are reluctant to, they have their own lives. This is not, you know, like any group. It's a volunteer kind of position. So try to get some of these young people, we have, we have several very great new ideas and so on. I love that part. I just want it to continue. I love QUAFF so much. Lorton: You know, you haven't been a one of the senior officers. Bixby: Never, not yet. Link: [Showing photograph] So that was the original room at Callahan. Downie: That's wonderful. Bixby: Can I see that? Lorton: I’ve got to see that too. Link: And then they added on that section right there where they could actually rope it off. Lorton: Yeah, I remember we had one meeting. There was a point at which we were kind of, we kind of hit a minimum and I remember Harold Gulbransen was giving a talk and it was in October and he was competing with the World Series which was on the TV screen behind him. Bixby: Which was hard for him as one eye was probably on the Series and one eye on the…That’s really great. You have a date on the back too? Lorton: This guy is much more… Link: I would say this is probably about 92-ish. This is not like the photos when we were kids that had the date on the back or on the margins. Downie: 20 00:26:44 Well of course I am trying to work with Lee at Callahan’s and he can probably give me some dates. 20 I would hope he would remember QUAFF’s presence. Lee Doxtader, co-founder of Callahan’s and San Diego Brewing Company Transcribed by Ernest Cisneros and Judith Downie 11 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Bixby: Was Lee around that long ago? Oh my, [another photograph] well that's… Downie: Chris with Karl Strauss. Bixby: Yeah. Yeah. I remember one of those is a beer dinners they had. I actually sat at the table with Karl and his wife. It was kind of fun. Bixby: 00:27:48 I think they still have the same chef. Link: You know, I think so. Bixby: Gunther. Downie: You even remember his name. Bixby: Good food! Link: I knew I had a picture. Bixby: Yeah. That's great. Downie: 00:28:03 So. the pictures are wonderful. I mean that would be something that I would be interested in digitizing, giving you copies of the digital files. Link: 00:28:09 Most of those are pre-digital, so they're just going to be… Downie: Negatives floating around, if you still have the negatives. Link: They’re somewhere. Yeah, it's tough. Downie: 00:28:22 It is. I'm going through my parents’ things and my mother was, you know, a historian at heart and I actually, when I was emptying out the house, I found up on the very highest shelf in the entry hall closet, so, of course that's where the heat all rises. Six eight-millimeter films, pre-sound. My parents' wedding day. My cousins, there's actually some of me, I took them to ScanDiego and they were able to salvage pretty much everything and digitize them. So, I have to give my family, you know, pictures, you know, the films on a DVD and say, here you go. And if anybody, I filled in what I knew what I could recognize and some of them I had to kind of guesstimate the date saying, well, okay, I'm in there. So, I know that had to be this year, but I'm not in that one and this cousin looks younger, so it was probably a couple of years earlier. And I've asked the family, of course, you know, probably none of them have actually stopped and taken the time to look at the DVDs. If I put them online like in Dropbox and link them and said, here, go look at these and you know, give me some feedback. They'd Transcribed by Ernest Cisneros and Judith Downie 12 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 probably do that. But you know, a lot of people don't have DVD players even anymore. Link: DVD? Downie: Yeah, I do have the online digital files. Link: That’s our media now. Downie: Yeah, for me. I've got DVD player and stuff. Bixby: [to Lorton] Which one did you get? Lorton: Get Thee to a Nunnery. 21 Bixby: I’m telling you, that is going to be one of my new favorites. Link: 00:29:42 Did you try the English [inaudible]? Lorton: Oh, the Banksy? Link: No, the [inaudible]. Lorton: No I didn’t. Link: What was it, something about all night or midnight or something. Down Through the Night? Bixby: We'll wait for you if you go get a beer. Loron: I'm just going to say… Link: Well now you can talk about me… Lorton: Let me check on my record to see if I... Link: Quite frankly, there were a lot of QUAFF members at that time that didn't like what I was doing and they stopped coming. But I think it was the right thing to do to make QUAFF more.... Bixby: What years were you in? Link: I was president in 1990. So for two years. 21 Beer name. Transcribed by Ernest Cisneros and Judith Downie 13 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Lorton: Yeah. I had the same experience. Bixby: I must have this come in on the end of you. I don't remember being displeased. Link: Well, I think people like us, we're happy with the direction it’s going. But the guys that were making the 10 cent pints, were not. Bixby: Oh, there is a different mentality. When you talk to people across the, yeah, it's a different mentality. Lorton: 00:30:52 Bixby: Lorton: I mean there was a group, they were complaining, “Oh, you guys are too focused on competition.” But it was, I never thought it was, so much as focus on competitions is focusing on bettering your craft is what it was. And so the competitions were feedback. I always looked at it in a totally different way. 00:31:14 Well, it depends on your perspective ‘cause I agree totally with you. Link: But, there were a lot of members even after the exodus in my period, there were still a lot of members thought we were too fixated on competitions. And I would just tell them don't worry about it. Yeah. Downie: You don't have to participate. It can be a goal for some. Bixby: Yeah, yeah. Link: Just learn from it. Come and enjoy it. What did you want? Bixby: Another Nun. Lorton: 00:31:59 Let me know what that British beer was Rich that you said if I had… Link: Oh, it’s Down through the Night, a British Strong. Lorton: Oh okay, now I haven’t had that. Bixby: You know, I live so close, I should have had everything here. Lorton: You know, getting drunk has no appeal to me. Bixby: No, no, no, no, no. You know, that's not the point. Lorton: I know a lot of people who, “Oh yeah,” like get, well, I mean, but I'm not one of them. Transcribed by Ernest Cisneros and Judith Downie 14 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Bixby: You get drunk, you can't taste another good beer. Lorton: Yeah, I get headaches the next morning. You know, if it's too much, the bed starts spinning around. Bixby: It’s been a long time since that happened. Lorton: I was just going to say, that's when I was a wine person. Downie: 00:32:34 So, Mary Anne, tell me about Mead Day and the celebration at your house. Bixby: 00:32:40 You know I cannot remember the first time I did it. You’re kind of, like have some trust you know, in your reminisces. Lorton: 00:32:48 The unfortunate thing is a lot of my memory is actually in the newsletters that I did. And I don't know if my newsletters predate mead day and I'm trying to remember where else we were. I told Judith that Frank Golbeck came to one of our mead days a few years ago. Bixby: But I'd had them before Frank came along. Lorton: They were quite, I don't know how, I don't remember. It just seems like a long time we have done this. And it's the national mead day, which is the first Saturday in August, which is kind of hot in El Cajon usually, which is an understatement. But sometimes it rained a couple times, but other than that… Lorton: I told her about Death Mead Day. Downie: Yeah. I heard about the Death Mead and anything called Death Mead Day is definitely a must attend. Lorton: What kind of alcoholic beverage do you want to not drink a whole lot of when its hot? Bixby: I know it. [Laughter] Link: 00:33:54 At least it’s not Imperial Stout Day. Lorton: It’s stronger than Imperial Stout. Bixby: It's been fun over the years. And, we had one guy who was, owned the Downtown Johnny Brown's, for a while and he made mead cocktails and Transcribed by Ernest Cisneros and Judith Downie 15 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 brought them to Mead Day.22 So even that was fun. We has meads from all over the place. Lorton: 00:34:19): Yeah, we started Mead Day probably when AHA started recognizing it. It wouldn’t surprise me because we were into meads back in the early 2000s, late 1990s.23 Bixby: I should check on the original when AHA started that cause they used to have an official recipe. So, it was like, okay, my garage wasn't so full at the time. So we used to make mead in the garage, which kept all the mess and the stickiness right there. And the, and I would… Lorton: The bees. Bixby: …clean out. Well we did have that. Lorton: When you make mead, if you do it outside, you get bees. Bixby: Oh yeah. Downie: There's a cautionary tale. Link: You come in the garage, you get, come on, really? Get outta here. Lorton: Yeah, they like honey. Bixby: But there was an official recipe and I tried to encourage people, you know, this is the official recipe we're going to do. And since I was hosting it hard for me to make it, but I'm trying to get other people to do it and we, we had some pretty good meads. Lorton: Yeah. Well, there's always… Bixby: Hot or not. I mean it was never blasting. Lorton: Yeah. There's always, always more meads. You end up with a whole bunch leftover when we’re done. Bixby: Yeah, because I tried to collect not just the ones on my travels, but some of the competition meads, even the ones where when we had the homebrew competitions. Then they were like unknown cause I never got the printout to say number whatever is such and such. So we just opened them. I still have a few for this year from last year’s competitions. 22 23 Downtown Johnny Brown’s is a sports bar in downtown San Diego that was an early supporter of craft beer. According to the Bay Area Society of Homebrewers, the first AHA Mead Day was 2002. Transcribed by Ernest Cisneros and Judith Downie 16 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON Lorton: 00:35:57 TRANSCRIPT, INTERVIEW 2017-07-09 Yeah. So, you know, if we have a, if there's a competition, you know, the idea is submit two bottles. If yours is the best in your category and there's three to five categories, then that best in that category will go on and compete for the best of show. But everything else is just a second bottle, looking for a home. Bixby: [Inaudible] was my home for a long time. Downie: There's the advantage to having it at your house. Bixby: Well I didn't drink them, I saved them so we could share. Cause you never, you didn't know what they were. Lorton: At your house. It was better than being at my house. Bixby: Oh maybe so. Lorton: But yeah. And it was good because I think at the time, and we’re still doing this. There are quite a few people who are interested in being mead judges and it's good to look at “Well, this mead isn't quite so good for this reason. It's too hot and too, you know, too alcoholic” Bixby: Or no flavor. Lorton: Yeah. Things like that. So, but yeah, you know, I'm trying to remember if it was at someplace besides your place when we first got started. Bixby: 00:37:11 I don't know. I can't remember that. That's too far off. But I know I did it because Bix was into making beer and mead making was similar to wine making. So, it interested me. And so, I started making mead. Link: With your daughter? Bixby: You know, actually I, I know I did it before, but the only mead my daughter and I ever made was in 2000 there's one bottle left. I have no idea how it tastes. I hate to open it without her. If she could ever come to Mead Day, I would open it. But she helped formulate the recipe. Downie: 00:37:54 So good. Rich, have you ever done mead or cider? Link: 00:37:56 Yeah, I did a few. It wasn't something that I really wanted to do much of because I didn't drink a lot of mead. It was tough for me to, it was just tough to drink that much mead. Yeah. Bixby: 00:38:15 Are you a wine maker? I mean a wine drinker at all? You are? Transcribed by Ernest Cisneros and Judith Downie 17 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON Link: 00:38:20 TRANSCRIPT, INTERVIEW 2017-07-09 Yeah. Bixby: You are. Lorton: I am not. Link: It is a lot easier for me to drink a bottle of wine than it was for mead. Mead was just too much. Lorton: 00:38:28 Yeah. I'm kind of the same way. You know, I go through periods when, “Oh, that mead really tastes good. I need to make some.” And then I, you know, I've made a whole bunch and okay and I've got to get rid of these bottles, you know, and… Bixby: 00:38:45 No, I agree. When your palate has tasted so many things, I've gone through stages too. So you know, maybe I'm into a hop mood and maybe I'm not, you know, or something like that. Lorton: 00:38:57 Well, and for me, I have a beer with dinner and there aren't many foods that don't go well with beer, but there are a lot of foods that don't go well with wine or mead. Bixby: 00:39:09 That's interesting. Cause I remember when all this pairing stuff, remember when they were into the pairing and the food and the beer dinners and so on. And that was one of the things I heard right from the beginning. The guys, the chefs, saying not the drinkers, but the chefs would say, yeah, they had an easier time with the beer. Lorton: 00:39:30 Yeah. What kind of wine or me goes best with a hamburger or what kind of pizza goes best with wine? Downie: 00:39:40 Well, I have to say when I was in the Craft Beer Expo last September and did the chocolate and beer pairing with Bill Sysak. Saturday morning at 9:00 AM, I'm sitting there with chocolate and beer in front of me going, “This is something real wrong, cause I'm not that big a beer drinker.” But Bill made the argument that the carbonation in beer actually because it cuts through the fatty of the foods, makes for a better drink with any food. Link: 00:40:10 That’s why it’s so much better with cheese than wine is, you know, the whole wine thing is wine and cheese. Well no, it doesn't work as well as beer. Downie: 00:40:18 And with wine, until you get into this whole, you've got red, you've got white, you've got these very distinct strong categories where with beer there seems to be a, because of the hops and things, there seem to be a Transcribed by Ernest Cisneros and Judith Downie 18 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 more consistent thread through it. So, it just seems to be more all-purpose maybe, I am not explaining it very well. Lorton: 00:40:36 Well, I mean there's so many, I mean beer is such a much more diverse than wine. Link: 00:40:42 I've had arguments with wine makers about that. Oh you know, wine does this. So there's so many variations. And I said, okay, let's just talk about beer, the different kinds of malts, the different kinds of hop, different kinds of yeast. It's like infinite. Yeah, it's, it's truly infinite. Wine. Like you said, you got your reds and whites, you got blends and stuff, but they only got about five or six different categories. Really. Bixby: 00:41:12 That was fun for me to watch. The homebrewing community really affect what we drink now because the guys had no limits. And so, we had people making beer with Jolly Ranchers or something from the grocery store, cereal bins, or something like that.24 And then these ideas just kind of, I think progress and what the creativity is, was part of the whole thing. That's what I love. And then of course the gadgetry, I was in love with the gadgetry. Oh my gosh you guys… Link: There were a lot of engineers and scientists that brew. Bixby: It was beautiful. That's what I love. I did love that part. That so much. Lorton: Bixby: 24 25 00:41:56 Yeah. And you see that in commercial brewing now. I mean, if you look at the new things that the brewers are making, you know, I went to a golf and beer festival a couple of weeks ago or a couple of months ago, eight breweries where there, you know, Stone, Mother Earth, Mike Hess, Latitude 33, five of those eight had a citrus IPA. You know, three years ago how many citrus IPAs were out there? Ballast Point was there with Grapefruit Sculpin. Latitude 33 had their Blood Orange IPA. Stone had Tangerine IPA, but three years ago, how many citrus IPAs were out there, and then all these new things are coming along. Man, that Blood Orange IPA from Latitude 33 is so good. Went up to Double Peak a couple of weeks ago and came back to a Japanese restaurant, a sushi bar, and they had, you know, Asahi, Kirin, Sapporo and this “blood orange stuff that we can't get rid of.”25 “Oh, I'll take that one. Is that from Latitude 33?” “I don't know I’ll check. Yes, it's from Latitude 33.” Interesting. Hard candy in intense fruit flavors. Double Peak Park in San Marcos, California. Transcribed by Ernest Cisneros and Judith Downie 19 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Downie: 00:43:17 Interesting that they wouldn't. Of course when somebody goes to a sushi restaurant, they probably want to drink culturally appropriate beer. Lorton: 00:43:24 This was in San Marcos, not far from where, you know, Homebrew Mart, whatever, Beer and Wine Crafts was located. Bixby: It’s San Diego County after all. Lorton: Oh man, it went so well, I had tempura so… Link: Are you grasping the hops nowadays? I ‘cause we used to have… Lorton: Yeah. Link: You know, arguments. I really mean ‘cause I would hop my beers. Bixby: You two would? Link: Well exceedingly hoppy and you know, and it was way too hoppy for Greg. Lorton: I would like a beer with a little bit of diacetyl in it. Link and Bixby: Oh no! Lorton: A little bit is a lot. This guy, if you open a beer with that in it in the room… Bixby: He said it a long time ago and it sticks in my mind. Link: I'm across the room going alright, who opened that up? Get that outta here! Lorton: Yeah, you and Skip. Well I normally like Belgian beers. I like non-hoppy beers, but if I'm going to have a pizza, it's got to be an IPA. you know, I really like a hoppy beer with pizza or hot chili. Downie: Spicy. Lorton: Yeah. Yeah. I haven't found a wine yet that goes well with those, but, and I haven't looked real hard either. But you know, for a beer like for a food like pizza or chili and I really kinda want a hoppy beer. Link: Chiantis, the Sangiovese with Pizza Hut. [Laughter] Bixby: There you go. Transcribed by Ernest Cisneros and Judith Downie 20 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Lorton: Oh man. Your masculinity is just gone into that. [Laughter] Yeah. I stopped being a wine person as soon as I discovered homebrewing. I haven't had a wine in at least a year. Bixby: Oh, I’m afraid I am an all-purpose drinker. Downie: Since you have made wine… Bixby: It depends on it, whatever my mood is. Sometimes I am in the mood for hops… Link: I don't discriminate against any alcohol. Bixby: Nor do I. Lorton: I don't have any wine in my house. Bixby: A good single malt scotch sometimes that’s what you want. Lorton: I’ve got a bottle of Laphroaig and Balmore in my refrigerator. I like them cool. But, uh, no wine. Bixby: Oh dear. Link: 00:45:45 So where did we leave off on the QUAFF? Downie: 00:45:48 My questions were fairly generic here, so I'm just kind of looking. You've talked about the growth of the membership, which I think really says something. I do have other QUAFF past-presidents like Peter Zien to talk to yet, but it sounds like you are still members of a very strong supportive community and you know, you're very open minded too, except for that one thing that you've talked about that you could smell it across the room. It sounds like you're a super smeller. Lorton: Diacetyl, it’s butter, it’s buttery aroma. Downie: Okay. Lorton: Really good. Bixby: For me, it’s skunky. I’ll get the skunkiness out of anything, I hate it. Link: Great on popcorn. Not so good in beer. Lorton: But I mean Rich is one of these people that is, yeah… Transcribed by Ernest Cisneros and Judith Downie 21 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Bixby: 00:46:37 You know the thing you said about supportive, I think the key that I've always found with QUAFF. Supportive, not just in the, oh, who needs help brewing, but just in other ways too. When my husband died, I knew if I needed something…I'm usually, I'm a loner and I'll do it myself kind of thing. But I knew if I really needed something, I could call on somebody and I had many offers. So, I think that's, that's what it became, well, I mean, I said it in Sheldon’s movie.26 QUAFF to me was always a family, like a second family. Lorton: 00:47:16 I, then one thing that Rich brings is, I mean you've been all over the world tasting beer and you know, you can talk about places in Brussels to go if you want a good beer. Places, you know… Bixby: The knowledge you mean? Lorton: Yeah. Just, well experiencing those beers at the source. You know, for me, my favorite beer city is Bamberg, Germany. Bixby: You like those malt beers. Lorton: I like it. You know, the majority of the breweries there don't make smoked beers, but you know, they all make good beer and but yeah, I do love the smoked beer. I mean almost as much as buttery beer. Downie: 00:48:03 Where do you stand on smoked beer Rich? Link: 00:48:06 I like it. Okay. Oh yeah. You do have common ground there somewhere. Lorton: Oh yeah, yeah, yeah. Link: I mean there isn't a beer style that I hate unless they put cucumber in it. [Laughter] Bixby: 00:48:22 I might have to agree with you on that. Like cucumber water. Link: 00:48:25 I haven't figured that one out yet. Downie: That does sound like it would be a mistake. Link: Yeah. But I see it on the shelves now. Bixby: Oh dear. Oh you do? The movie referred to is SUDS County, USA, (2012), produced by Sheldon Kaplan about the San Diego craft beer industry. 26 Transcribed by Ernest Cisneros and Judith Downie 22 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Link: Yeah. Not kidding. Lorton: I'm trying to remember if at that beer festival I had one with cucumber in it. In the competitions, I usually like to judge what we call weird beers, which is fruit beers, spice or vegetable beers, specialty. And occasionally you run into a cucumber. But I've had some cucumber beers lately. They weren't bad, but cucumber is not my favorite. I guess that's a vegetable I don’t know and uh, yeah, it's not, I've never made one with cucumber in it. Bixby: 00:49:05 I like cucumbers but not in water and probably would not like it in beer. Link: 00:49:09 People like it. And that's fine. Bixby: I’ve had asparagus beer that I thought was… Link: WOW. wow. Bixby: No, I know when I saw it the guys were saying this is at GABF and so, ”You have to try this, you have to try that.”27 Oh, okay. And then it was done perfectly. It's like how do you get asparagus in a beer and not have it like be yucky or something? Although it did have the same effect after the fact, as eating asparagus, unfortunately. [laughter] Lorton: Thank you. TMI.28 I’ve never had an asparagus beer. Or spinach Bixby: It’s interesting, the different beers, you know, you run into at GABF when you're, when you're working in the back with all the beers. A job. I like. Lorton: Oh wow. Link: 00:49:58 Bixby: Link: I remember an early QUAFF meeting and the guy brought in a beer that he brewed based on some historical reading. He had dug up with bananas. And he brought it up and we're tasting it. I'm going, “Oh my God. You know, I've done everything I can to get banana tastes and flavors out of my beers. Why would you intentionally put it in?” That’s really interesting. 00:50:28 Historical significance? Okay. Don’t like it. Lorton: I've heard that. Bixby: Not on that Sumerian tablet, I’m sure. 27 28 Great American Beer Festival, Denver Colorado. Too much information. Transcribed by Ernest Cisneros and Judith Downie 23 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Downie: A sacrifice for historical research. Well, there actually is in ancient Greece, if a woman was having trouble nursing a child after birth, there was a recipe involving worms crushed up in beer to correct the situation. Bixby: Oh, that's interesting. They could have minused the worms. I'm sure she would have been happier. Downie: Yeah. Maybe. Maybe the worms were to keep her from drinking too much. I don't know, but… Bixby: Maybe that's a good point. Lorton: 00:51:08 You know, probably 15 years ago we were talking about cock ale. Randy Barnes made a beer with chicken in it and it wasn't very good. He said, well, okay, I made the cock ale and Randy, he's the guy who's the vice president of educational services with a community college district. Bixby: He’s the dean or something. Lorton: Yeah, he's the kind of guy who would do it. He's the guy who you'd never expect is a professional, if you ever ran into him. Bixby: That's right. Lorton: If, but I, yeah and he’s really… Bixby: Creative. Lorton: And he's really smart and with a sense of humor that just would never stop. Link: 00:51:51 Jim Koch told me about doing that once their little brewery back in Boston.29 A pilot brewery. It wasn't so good. Downie: Yeah, it doesn't… Link: Throwing in chickens into the… Bixby: I can't even, why would you even consider that? Downie: Any meat product does not sound like it would… Owner of Boston Beer Company which makes Sam Adams beer. This is a bit of sarcasm in referencing “their little brewery.” 29 Transcribed by Ernest Cisneros and Judith Downie 24 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Link: There is some historical significance about it, which I couldn't even grasp. Lorton: Yeah, I didn't. Yeah, that's a good, I don't know. Link: Cause you know he based a lot of things on historical significance. Lorton: Yeah. Yeah. Bixby: Oh, I am going to have to read up on that now. Chicken and beer and see what I get. Lorton: 00:52:34 Cock Ale. Ask Randy. He would probably recall. Bixby: Why he would do, I don't know about the historical, maybe he would. Lorton: Well yeah, I can't remember how we got onto that, but it was enough that it kind of sustained itself for a couple months. Downie: 00:52:50 That's something I'm seeing here in your stories is the fact that you're supportive of each other, that you've kept in touch with each other, that you've had fun. Bixby: 00:53:03 Oh my gosh. I don't know about these guys, but I had a blast probably, you know, I'm, I married a guy who was kinda quiet, not a social kind of person. In fact, even now when I'm thinking about him after a couple, you know, a year and a half, it's like I look up, you know, Asperger's in adults. I go, that sounds like my man. No, he just was not a social kind of guy, but QUAFF, there was a home for him in QUAFF and everybody seemed to accept him and he felt, you know, quote end quote loved there, whatever you want to call it. That was just the right place to be. I mean, it just, for us as geeky, nerdy, whatever you want to call us, we fit. Lorton: 00:53:45 Well, and the other thing is that, you know, one of the reasons I really like making beer as opposed to making wine is that when I was married, I had a brother-in-law who was a real wine snob and he was a spirits snob, and you know, it was, it just grated on me. And you know, beer people aren't like that. Well, you know, most beer people aren't. Bixby: 00:54:13 But do you think so? I don't think they are. Link: There are some, but yeah, there's you know… Lorton: There are a few that say, well, I'm not going to drink that. Bixby: 00:54:23 Even the women who drink wine a lot, they’ll drink beer now and then. Transcribed by Ernest Cisneros and Judith Downie 25 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON Link: 00:54:27 TRANSCRIPT, INTERVIEW 2017-07-09 Any, aspect of, like cheese or hamburger, anything. People are purist people. Yeah. Lorton: You have people in QUAFF who will say, “I'm not gonna drink a Ballast Point beer because they're owned by Constellation Brands. Or I'm not going to buy a…”, you know, yeah. Downie: Well, that can go back to when gas hit a dollar a gallon. People saying, “I'm not buying any more gas. Well, I'd like to see you try.” Lorton: 00:54:56 That’s the nice thing, in beer is a much more community, you know, it, it's… Bixby: 00:55:01 I'm not sure what it is across the country ‘cause I don't know anywhere else, but San Diego and I just feel they've been cooperative and giving. Lorton: 00:55:12 I think it’s like that in most places, yeah. Link: Mm-hum. Bixby: 00:55:14 I mean, I know when I've traveled all these years with Bix, we always of course, stopped at breweries nearby, right. If not aimed towards them specifically. That if you start talking to the guys, and I always like just sitting at the bar talking to who brews this. And then pretty soon somebody comes out. Oh, let me show you my tanks. And it's usually, like Peter, and like AleSmith started out with dairy tanks or something and I, and I had to weld this and I had to do that and I go, Oh yeah. So that's just a different… Lorton: 00:55:50 It's like that all over the country. It, and it was funny because when I was teaching business classes that you'd have marketing people who didn't know beer saying, well, you know, there's not a lot of cooperation among competitors in an industry. And I say, well, you need to look at the brewing industry because you know, like, when there was a hop shortage eight years ago, you know, some brewers were giving hops to others or selling at a low price to allow them to continue. Sam Adams was selling hops, at their, you know, their costs as opposed to what the price was. You know, when there was the hop shortage. Bixby: Oh, cause they had the option. Link: Well, they bought futures, future contracts. Lorton: I mean, look at all the homebrew clubs. I was looking at the names of some of those clubs, like Brewers United for Real Potables in Virginia, the Greater Denver Yeast Infection and you know, Maltose Falcons and, you know, playing on the Maltese Falcon. Transcribed by Ernest Cisneros and Judith Downie 26 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Bixby: That’s a good one. Lorton: There’s Foam on the Brain here. And you know, QUAFF there, there's so many funny names that Strange Brew in Oregon, you know, and in all kinds, Urban Knaves of Grain, in Chicago. Yeah, I mean there's so many funny names, so. Yeah. And that's because that's how brewers are. They, you know, Hey, you know, this is fun. You know, we're not taking it too seriously. We are, you know, really studying, brewing, but it's for fun, you know. Bixby: Seems you know, that'd be a good lesson all over. Link: 00:57:42 Lorton: I think is just more of a social fun drink than spirits. If I'm going to go to a place where I'm going to have a drink with other people and I have to go home, I'm going to have a beer. I'm not going to have a, you know, scotch on the rocks, you know, I'm not gonna to do that, you know? Bixby: 00:58:01 Well, there is a group that would do that. You know, what do they think about, you know, my martini for dinner and scotch after or… Lorton: 00:58:11 Beer seems like it's a much more sociable drink that let's go have a beer. Bixby: More for the common man and we're all just common man. I don’t know, I don’t know what the deal is. Lorton: You know, maybe a lower alcohol and a… Link: Yes, lower alcohol. You get a pint. You can drink for a half hour or more and still drive home. Lorton: Even if your home is like a mile away or so. Link: Yeah, right up there. Bixby: 00:58:35 Mine is max 10 minutes. And that's taking the slow road here. Lorton: 00:58:42 Well, yeah, I was gonna say when I went to Mead Day last year, I came here first and then I got on the road and I was driving and some guy’s really slow SUV or something or a Leer truck. Oh, it's Teresa and Rich. Oh, they're going to the same place I’m going. Link: 00:59:03 It was after a day at Mead Day we decided to stop here. Yeah. Transcribed by Ernest Cisneros and Judith Downie 27 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON Lorton: TRANSCRIPT, INTERVIEW 2017-07-09 Well I did it before, which was probably a little bit of a mistake. Yeah. Downie: 00:59:15 Well, one final thing I'd like to ask about…the increase of women in brewing, are you seeing that reflected in the membership in QUAFF? Link: 00:59:28 I can't talk to that cause I haven't been to a QUAFF meeting. Bixby: I would, I would say no. I mean I belong to SUDS. Downie: The San Diego sorority. Bixby: Yeah. Yeah. And those women are not involved in commercial brewing. They are, it's not like the Pink Boots, it's more that they want to do their own thing. They know what they're doing and like, they do know what they're doing in spite of what you guys might think, <interjected denials from Link and Lorton> these girls do know what they're doing. In fact, I was, you know, it's really interesting cause when Juli first, Juli Goldenberg, first came up with the idea for this group, she talked at a QUAFF meeting and I said, “Oh shoot, you know, I grew up in the 60s we'd marched for equal rights, we burned our bras, we did all this kind of stuff.30 And why do we want to separate, you know, why do we want it something separate?” And Harold, I know I mentioned that to Harold, he goes, why don’t you just get involved in that? Why don't you see what they're all about? Cause something, I dunno what it was that he saw. So I thought. Okay. And I went and I was really impressed because they knew what they wanted to do. He knew about brewing, they had been brewing, they just wanted a group that wasn't going to be intimidating. And I went to a talk when we had our last <inaudible> conference here was in 2015 and it was about women. And that whole idea was a panel discussion on, I thought it was absolutely excellent cause there were groups of women from different women's groups across the country talking about that whole idea. And one other woman my age, as she appeared to be, got up and said, “Why do we want to be separated” and I go, “Oh gosh, that's what I voiced.” Bixby: 01:01:39 But then the group panel kind of, you know, said because when we do stuff with the guys they want to take over, you know, it's a natural… Link: You’re a minority. It's tougher. Bixby: Thank you very much. Lorton: Well, no, no true. 30 San Diego Suds Sorority, a women-only home brewer group formed within QUAFF. AKA SDSS (pronounced Suds). Transcribed by Ernest Cisneros and Judith Downie 28 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Bixby: In the brewing community. Yes. Not in life. Okay, that's true. So it's like what do we know about the science or the whole art of brewing? And they said this way, you know, we have this, this separateness that we can kind of teach each other and have this open kind of a... And one of the ladies said, “All guys were asking if they could come and join. Yes, you can come and be part of it, but you have to sit over there and be eye candy.” <laughter> Link: And don’t talk. Bixby: Yeah. And if we need something lifted. Downie: I was going to say there might be something of the chivalry aspect where that's big as, you're a little woman and let me help you with that. Bixby: But I thought that was a very interesting topic and it was pertinent too. And I, since I joined the SDSS and have been part of that, I've been totally impressed with the beers that come out of there. And the girls, they're just, they're fun. Lorton: 01:02:59 Yeah. Well, if you look at who won this year at International Beer Festival, I mean Liz Chism is the brewer at Council.31 She's the one who made the beer that won. And… Bixby: 01:03:11 it's nice that her husband Curtis really makes a point of that is not, he's not intimidated. So for me he has a lot of… Lorton: 01:03:20 Well it was a little bit of a mind change too for me that, ‘cause I thought Curtis was the brewer. Bixby: 01:03:29 I knew from the beginning. Lorton: 01:03:30 He clarified that with me. That Liz is the one who brews, she's the one who makes the recipes. Bixby: So that's very impressive. She's very good at… Lorton: Oh yeah. Yeah. I've judged with both of them and she definitely, I mean it was clear that she really understands. Bixby: 31 32 01:03:46 I don’t know, I don't see, I mean I don't know what Pink Boots says.32 I know there's women in the industry, but as far as home brewing, I don't see a big enough presence in QUAFF. And I don't know if it's intimidation. I San Diego International Beer Festival. Council Brewing Company in San Diego. Pink Boots Society, an organization for women and non-binary individuals in the fermentation industries. Transcribed by Ernest Cisneros and Judith Downie 29 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 don't think so. I don't, I think it's like what's more important in your life? What's going on? Do you need to… Link: ; The time that you have available, its pretty easy to go order a beer. Bixby: You know, a guy is going to go out, that's his thing. You know, where a woman might say I got, especially if she has kids and then she's got a job and then she's got a house and I'm sorry guys. But it's still that way you're as the female, you're still the one that, because it's your nest and it's, and that's okay. It's just, you know, when I was growing up it's like gender equality, course, you know, I will always be for financial equality, but you know, these days there is no gender equality. We are different and that's okay. And once we get past that then we can go on. Lorton: 01:04:53 Well, you know, before the Industrial Revolution, women were the ones who made beer. You know, that was part… Bixby: 01:05:00 That way before, cause you guys were doing the, catching those mammoths and whatever else you guys, you know. Lorton: 01:05:09 So you know, that was their job. I think. Yeah, it's unfortunate. I think that, you know, there is this, still you know, homebrewing is still predominantly a male kind of thing. The other thing that I think is surprising, and I didn't realize this until after I'd started all grain brewing is I'm essentially cooking, you know? Yeah. Here I am in the kitchen, slaving over a hot stove. <laughter> I'm cooking. So, yeah. And you know, and I realize, I'm creating recipes thinking, okay... <brief interruption by the server.> Downie: You did want your crowler. Don’t forget. Bixby: Oh that’s right, cause I'm going to the meeting tomorrow. Lorton: Oh, and for Mead Day, I went to a new meadery last week in Vista. Bixby: Which one? Lorton: Twisted Horn. Bixby: I've heard of that. How was it? Lorton: Yeah, they had some good meads. I'm waiting for Billy to open his meadery.33 Bixby: 33 Me too. Billy Beltz, owner of Lost Cause Meadery. Transcribed by Ernest Cisneros and Judith Downie 30 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Lorton: …and he's going to be in Miramar. That's going to be something. Link: What’s the name of it? Lorton: Lost Cause. Link: Isn’t there another meadery just opened there? Lorton: Well, Twisted Horn. Oh, it's Serendipity Cider is there. Bixby: He’s in the same spot is as... Lorton: And I think he's been having some regulatory problems, but there are four meaderies. There's also one called Mediocrity. Bixby: 01:06:51 Yeah. And then the Bronto group guys. Lorton: Oh, I haven't heard that one. Bixby: Yeah, they're not making good stuff. Mediocrity is okay. Lorton: I have not tried theirs. Bixby: They're like up in there. They're okay. Link: Are they like mediocre? <laughter> Bixby: I don't know why somebody would choose that name. Lorton: We were talking about how about Black Plague as a name for a brewery?34 Link: Yeah. Bixby: I'm not sure where these guys come up with this stuff, but… Lorton: 01:07:18 Well, Twisted Horn is a big Viking thing. And they're in the area with all the Vista breweries. Bixby: Were they on the sweet side or no, is Viking sweet? Lorton: No, they were semi-sweet. But they had, you know, they had like, it was posted Horn Mead and Cider and I only tried the meads but they had probably six meads to choose from. The one I liked the best was a 34 Black Plague Brewing Company, opened in Oceanside in Jully 2017. Transcribed by Ernest Cisneros and Judith Downie 31 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 blueberry melomel, but they had various collections. I'll bring some, I'll stop by there and get a small growler to bring by. But yeah, on Lost Cause, I mean when they get situated there's going to be five breweries and meaderies literally across the street from each other.35 Bixby: And sake. Lorton: Okay. Yeah. Cause I mean Two Kids, Align, what’s that, Thunderhawk? And there’s another one, Projector? Bixby: I know. Downie: There's Protector. Link: Protector. That’s the one, they're not a meadery? Lorton: I don't think they are. Bixby: Protector. Now see that's not one I have heard of. I can't keep up. These guys are moving too fast. Lorton: 01:08:32 Well yeah, I've got to talk with my son cause my son likes to make mead and… Bixby: 01:08:38 Oh, his son made the best. I'm sorry, I'm sorry Greg, but his bouchet was wonderful. Lorton: Bouchet is a mead that's made from caramel from sugar that's been, or honey that's been carmelized. Downie: Ooh. Bixby: 01:08:55 And you know I tasted one at Mike Buck’s. Mike Buck made one that was really good too. Lorton: Yeah. I made one. But it was kind of underdone. Bixby: Yeah, your son's was… Lorton: Yeah, he made a good one. It was distinctive. Bixby: I can definitely remember one. Mine just tasted really good at the beginning, getting at all those bubblegum flavors and all that. And then it just dissipated. Okay. That's not non distinct. 35 The street referred to is Miralani Drive in San Diego. Transcribed by Ernest Cisneros and Judith Downie 32 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Lorton: Right. Unfortunately, mine is gone, long gone, so I don't know what… Bixby: Mine's gone too. Lorton: That tastes like. But yeah, that area, that Miralani Drive is… Bixby: I know and it's getting… Link: 01:09:38 Oh, they're all organic.36 Organic. Lorton: Okay. Downie: Yeah. I was just looking at them last night. Bixby: Oh dear. So what’s not organic about honey? Lorton: True. Link: They’re not a meadery, they’re a brewery. Bixby: Oh. Oh. Downie: And probably the biggest challenge is organic hops. Bixby: 01:10:02 Oh, that makes sense. So is anybody doing that locally? Organic hops? I mean, how many local hops growers do we have? We have Star B…37 Lorton: Well, I would guess I met with a guy from Star B one time and we were talking about you know, meads, but you know, it wouldn't surprise me. 38 And there's an article in West Coaster I think this month about Star B also. Bixby: Is there? Lorton: Yeah. Get the West Coaster here. Bixby: Is it in there? Lorton: 01:10:34 Yeah. Okay. But yeah, you know, I think one of the interesting things is, you know, looking at businesses and that's one thing that I've been trying to Referring to Protector Brewery. Star B is a ranch and hop farm in Ramona, California. 38 Probably referring to Eric March who was an owner. 36 37 Transcribed by Ernest Cisneros and Judith Downie 33 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 study a lot is you know, what's the factors lead to success in business. And you know, we see that, okay, apparently Lightning is selling all their stuff.39 Bixby: 01:11:01 Yeah. I don't know what, Jim, I think is too academic or…40 Lorton: No marketing at all. Bixby: Yeah. I think, I mean, he was a great brewer and all that and I loved it. He was a great guy. Lorton: 01:11:11 But did you see Intergalactic is looking at maybe getting it, you need to get the West Coaster.41 Downie: 01:11:18 And the Intergalactic website is saying that they are definitely taking a different direction, whether it's to close or… Bixby: Lorton: No kidding. 01:11:26 There's an article on it. Link: I heard that last Friday Lorton: And you know, I think the way to go in the future is just do it small. You know, don't they expect to conquer the world? Bixby: 01:11:40 You mean don't start thinking Ballast Point billion dollars-ish. I think that's going to do you in, ‘cause we are San Diego and you would like some of our local, um… Lorton: 01:11:53 There's also an interview with Jim Crute in that and he says if he was ever to get back in the business it would be as a nanobrewery making a small amount of beer for a localized customer base. Bixby: 01:12:07 Like, like local English pub kind of thing made locally. Link: Like this here.42 Bixby: Oh well like, yeah, they don't want to screw this up because this is too close to my house. And I know it's a bit like, I don't even have to go to Santee. I'm right here. Lightning Brewery in Poway, California. Jim Crute, owner of Lightning Brewery. 41 Intergalactic Brewing Company. The West Coaster was a local beer-focused publication. Its online presence has been archived at https://archives.csusm.edu/westcoastersd/. 42 Referring to Burning Beard. 39 40 Transcribed by Ernest Cisneros and Judith Downie 34 2024-04 �RICH LINK, MARIANNE BIXBY, AND GREG LORTON TRANSCRIPT, INTERVIEW 2017-07-09 Lorton: Like I was telling Judith that El Cajon was pretty much a beer desert. Bixby: Oh, you don't even go there. I know how many times I was like, “Oh, the Bostonia Ballroom, that huge building there.43 I thought that's a great place for some fun.” Well, no, now I don't know what they're doing over there. Link: Yeah, that area is… Bixby: Don't say that. There's where I live. I don't know what's going on in that area. Link: It’s a commercial area. Bixby: I mean, I don't know what's happening with El Cajon in general. Lorton: It’s a great place to visit, but not to live. <laughter> Bixby: Find me a house in La Mesa so I can walk to a coffee. Lorton: Yeah. But you’re east of that, right? You're closer to Alpine than anybody else here. Bixby: 01:13:10 Yeah. I am close to Alpine. Bixby: 01:13:13 Yeah. I used to go the Breadbasket all the time when before it was Alpine Brewing. Lorton: Is that right? Bixby: Yeah. Downie: 43 01:13:26 Well, at this point I'm going to end our recording and I want to thank you all for the time and the stories. This has been absolutely fascinating. I'm filling in some of the gaps and given me leads of more people to go chase down for more histories. Building erected in 1932 on Broadway in El Cajon, California and noted for hosting country music performances. Transcribed by Ernest Cisneros and Judith Downie 35 2024-04 � 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 Link, Rich, Mary Anne Bixby, and Greg Lorton. Interview transcript. July 9, 2017. Description An account of the resource <span><strong>Rich Link, Mary Anne Bixby and Greg Lorton</strong> are all early members of <strong>Quality Ale and Fermentation Fraternity (QUAFF)</strong>, a San Diego area homebrewing group. In this interview, Link, Bixby, and Lorton discuss their introduction to craft beer, early home brewing experiences, QUAFF, various local breweries, mead, and womens’ participation in homebrewing. None have worked in the industry professionally, but all are certified beer judges and Lorton and Bixby also judge mead competitions.</span><br /><br /><span><strong>Link</strong> wrote for the&nbsp;</span><em>Celebrator Beer News</em><span>&nbsp;magazine on the Southern California beer scene and his experiences visiting European breweries. He served several terms as QUAFF President. He is a certified beer judge.</span><br /><br /><span><strong>Lorton</strong> served as QUAFF Newsletter editor and President. (He has provided a separate oral history.)</span><br /><br /><span><span><strong>Bixby</strong>, with her late husband, Horace, switched from wine making to beer making. She belonged to the SDSS (San Diego Suds Sorority) which was a women-only subgroup of QUAFF.<br /></span></span> <p><span data-contrast="auto"><strong>QUAFF</strong> was founded in 1989 for San Diego area homebrewers to learn, improve, and successfully compete with their beers, ciders, meads, and other fermented beverages. The group also assists members with earning national Beer Judge Certification (BJCP) and encourages participation in club-only and external competitions and charity events.&nbsp;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true}">&nbsp;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true}">&nbsp;</span></p> <p><span data-contrast="auto">QUAFF is noted for sponsoring the America’s Finest City Homebrew Competition. One recipe from the pool of first-place winners considered for Best of Show at this event is selected for production at a local commercial brewery. Participating breweries have included Stone Brewing and AleSmith Brewing. The beers produced include Stone’s Xocovesa, developed by member Chris Banker. The club has garnered awards such as the American Homebrewers Association’s Radegast Award for community involvement and California and National Homebrew Club of the Year Awards, based on competition points earned.&nbsp;&nbsp;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true}">&nbsp;</span></p> <p><span data-contrast="auto">Dozens of QUAFF members have ‘gone pro’ either finding employment in the beer industry in a variety of positions or opening their own brewery. Some have opened breweries in San Diego County and others have moved either elsewhere in California or out of state.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true}">&nbsp;</span></p> <p><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true}">&nbsp;</span><span data-contrast="auto">As the group has grown, the monthly meetings have moved from member’s homes, to Callahan’s Pub, Karl Strauss Brewery and Gardens, and now meet at The Gärten (Bay Park neighborhood beer garden space shared by Lost Cause Mead, Oddish Wine, and Deft Brewing.)&nbsp;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true}">&nbsp;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true}">&nbsp;</span></p> <p><span data-contrast="auto">Their website is found at </span><a href="https://quaff.org/"><span data-contrast="none">https://quaff.org/</span></a><span data-contrast="auto">&nbsp;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true}">&nbsp;</span></p> <span>This recording was made on the front exterior patio of Burning Beard Brewery in El Cajon; there are periods of traffic noise which interfered with recording.</span> Creator An entity primarily responsible for making the resource Rich Link Mary Anne Bixby Greg Lorton Contributor An entity responsible for making contributions to the resource Judith Downie Ernest Cisneros Date A point or period of time associated with an event in the lifecycle of the resource 2017-07-09 Subject The topic of the resource Home brewing -- California -- San Diego County Quality Ale and Fermentation Fraternity (San Diego, Calif.) Women brewers -- California -- San Diego County 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 Marcos 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. California State University San Marcos Format The file format, physical medium, or dimensions of the resource text Identifier An unambiguous reference to the resource within a given context LinkRich_BixbyMaryAnne_LortonGreg_DownieJudith_2017-07-09_transcript Brewchive(r) Women's experience https://archivesoralhistories.csusm.edu/files/original/650df26fcebb5e908a3a6386a0e71713.pdf 91b6788af9d667a1f9d0118bd55f634c PDF Text Text TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 Transcript Linda Kallas: Today is October 31, 2022. I am Linda Kallas, and I am interviewing Joanne Tawfilis as part of the North County Oral History Initiative. Thank you for joining me today, Joanne. Joanne Tawfilis: Thank you, Linda. Glad to be here. Kallas: It’s my pleasure. I’m going to give you some questions, and you’re going to answer them and to the best of your ability and we’ll just keep moving through the questions. Okay? Tawfilis: Okay, sounds good. Kallas: First of all, when and where were you born? Tawfilis: I was born in New London, Connecticut, and, um, a long time ago, [laughs] almost seventy-seven years. Kallas: And was your family an active part of any cultural communities where you grew up? Tawfilis: Actually, my family was one of the first Filipino American families in the town that I was born in. Um, we had a huge family, and then another family came and there was sort of a competition between the two families on, I think, who could have the most kids. Kallas: Oh! [chuckles] Tawfilis: And I think my dad won! [both Joanne and Linda laugh] Kallas: Um, so you didn’t grow up in North County. You moved here how many years ago? Tawfilis: Oh, it was—I moved here probably, um, in 1971, was when I first came to California. But then with my career I traveled all over the world, so I was back and forth on a regular basis. Uh, I had children and grandchildren here, and when I retired in the year 2000, I decided to settle here in paradise. [nods] Kallas: Nice. And how do you like living and working here since then? Tawfilis: Oh, I love San Diego County. Out of all the places I’ve ever been, I think that what I— I love the weather like everybody else, but it’s very multicultural, and, uh, makes life interesting that way. And grandchildren will always keep you where you are going to retire. Kallas: Um, do you feel like you’re part of the community? And do you have a support network? Tawfilis: I feel very much part of the community in many ways, but on―in some ways, no, because we’re—we’ve kind of discombobulated in this county where North County is kind of separated. But, I—my community is global, so it makes it a little bit interesting for me to try to be part of this community, despite the fact that I am, uh, running a multicultural center. Oceanside seems to be very focused on downtown and tourism, and, uh, I wanted to be here, even when I was downtown when we had our, um—it’s our studio and our center and our 1 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 museum, the first mural museum in the world in Artists’ Alley. I—I thought we were really integrated into the community, but when—when I had to move out and come down here, it’s been a little different because we’re—we’re—we’re not considered you know neighborly, I think, is my—my feeling. We—we—we’re here. I love being part of being imbedded into the community, especially the indigenous community, because the Center was supposed to be focused on multiculturalism, with the focus on indigenous people. Kallas: Um, so prior to doing what you do now at the Mural Museum and the Art Miles, you had another whole career. Can you talk a little bit about that? Tawfilis: Yeah. I started out doing illustration work with the U.S. government, and when computers came out, they scared the heck out of me, being a non-technical person and being kind of a—I think, at that time, a very snobby artist [laughs], and then when people tell you what they want painted on, or drawn with specific directions, I had to question “Why, then, do you need me, if you’re not going to use my creative brain.” And the computer-generated art didn’t appeal to me because of that. Although now it’s grown into such a great variety of software programs, you can do almost anything, even with your own art. But as a young artist, I didn’t see it that way. So I worked for the military for most of my career in civil service, and then later on, combined my civil service career with the United Nations, and got to travel, a lot! Kallas: Um, so, some of the work—you want to talk about some of the work you did for the military, Civil Service department? Tawfilis: Yeah. After doing illustration, um, at the Submarine School in Connecticut, where we—where I was born, and my ex-husband was military, we traveled and that’s how I came— came to California. Um, and I worked really hard doing graphics here. Um, I rose in my career there to, to when the Bicentennial happened in, uh, 1975–76, the Navy and the country’s Bicentennial, and I got a little bit famous because I coordinated the whole military celebration down at the Broadway Pier, and things like that. And, then when, uh, uh, I went as far as I could, as far as a illustrator, was go—was my part of my career, and they started to do more and more graphics. I mean I worked at every military base in San Diego that you could think of. Kallas: Oh. Tawfilis: And then an opportunity came to become, uh, the first civilian and woman to be a, an international military training coordinator, and that’s how I got really involved with the international work, because the job was to be like a cultural, um, leader for the military people that came and their families, and setting up Friendship programs, and ex—not exchange programs, because these were, these were guys that were being trained on the equipment in the ships that we sold as part of the―what they call an international military exchange training program, I met and several others. So, I worked through all the bases doing that, and really loved, um, starting programs for the military and introducing them to American culture. And that was my real first experience, and getting international people to know the native cultures. And I did a lot of—I spent a lot of time down in San Diego, and Chicano Park, and I used to have the military, even the officers, lay down in the, the big, uh, like a pagoda―I’ve forgotten what you 2 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 call it [chuckles], I think this is my senior moment―um, and look up to see the Inca and the Maya—Mayan civilization paintings, ‘cuz that’s where Chicano Park is sort of visualized and painted in amazing murals. And I did part of that on the bridge, the bridge stanchions that show how the Mexicans and the Spaniards came, and the farm workers came. And that was a lot of indigenous peoples from Mexico. And that got me interested. And then coming from Connecticut and New England where we had a lot of Native American tribes, a lot of international people ask about what happened to all the Indians in American culture? And a lot of—back then, a lot of international people only knew about cowboys and Indians, like most of us when we were growing up, you know, decades ago. And it also—it was very interesting to me because my minor in college was Native American Studies. Kallas: Oh. Tawfilis: And that’s how I got introduced to it. But, you know, it was something that you think of academically, although it struck my heart because I was really angry at our educational system for not letting me know, among others, that where I grew up and lived most of my, you know, young adult life prior to college was Indian country. I mean, one of the thirteen colonies. And people don’t realize what kind of impact that had, has on people when you’re growing up. So, that affected my, my heart always. So, when I—in my career, I’ve always had that as a, I want to say, a big influence on what I’ve done to, to teach international people when I travel, both with the military and with the U.N. Kallas: Now, did the military send you to other countries as well? Tawfilis: Oh, yeah. I ended up—I started out doing, like I said, the international training stuff, but then I was on the base closure team, where my career went way up as far as getting higher promotions and better pay, and stuff like that. So I ended up, after doing base closures in most of the San Francisco Bay and Hawaii area, my territory was, I was one of twelve people that did the base closure studies. And then I had an opportunity—kind of as a fluke—to apply for an international job with the Army, and my supervisor and I both did it, um, as a—I don’t know, we just got a, a bug to say, “Oh, let’s see what happens if we apply to do what we’re doing here in the States, doing base closures.” And so, they offered her a job, and she turned it down. And they said “Oh well, the next person on the list is right in your office. Can we talk to her?” That was me! And so I ended up going to Germany. At the time I had been working for the Navy for over twenty years, in different positions like I said, from illustrator to management analyst, and working at foreign training and base closures. So then I ended up going to the Army in Germany, and that was, uh, right after, um, the Bicentennial had ended, and then I did a stint with—I took some time, and got, went on loan as a Vista volunteer, and went up to the Nespelem reservation in Colville, Kettle Falls area of Washington. I got really lucky cuz’ my hero was Chief Joseph [chuckles] and so I worked on that reservation in a parent aid program. But that’s another whole thing that maybe we could talk about later. Because going back to the military, I did this closing the bases in Europe and I became one of the heads of the base closure team there, and that’s how I got to travel to just about every European country there was. And, um, from there, I got recruited by the state department and through my federal military civilian job, went to work for the United Nations in, in Austria after the base closure job in Germany, that I went onward to, 3 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 um, working on loan again. I went on loan from the Navy to the Army, from the Army to the International Atomic Energy Agency, and on loan again to the United Nations Environment Program in Nairobi. I mean there were jobs in between, but, and like I say that the stint I did at— I got to continue my career, even though I stopped working for the military for two years to work on, um, the Vista volunteer program. When Shriv—Sergeant Shriver started the Peace Corps, he also started the Vista volunteer program, which is now, I think, Americorps. So I was in that first round. Kallas: Mm-hmm. Tawfilis: And then I went back to civil service and continued on, and onward to U.N. Kallas: And did they send you to, um, war torn countries, and where there was a lot of political unrest— Tawfilis: Oh, yeah. Kallas: —as a representative? TAWFILIS: Yeah. When I went to, um—well, I could say my first stint overseas in Germany with the Army was when the wall came down. And I had just adopted two more children, and uh, I remember during that time the―when the wall came down, my kids were like, like—they were adopted from Mexico, and then—but they were Americans in a sense, so they were Mexican descent. And it was really interesting for them to learn German, so you see two little Mexicans speaking in German [chuckles]. It was kind of cool. And, um, but the war torn part of it was―my job was because the war was over, the Cold War, and the wall came down, the government decided that’s why they wanted to close the bases because they didn’t need that anymore. We had so much military might invested in Germany because that was the actual front, that it made my job easy because the, the common sense of the economic support that they did for Europe, um, on the, well, it was called the front, made sense to start closing the bases. And so, I became a superstar, doing that, because I had people skills, so the generals that I worked for decided that it was great to have a woman civilian go give the commanding officers of the base the good news and the bad news that their base was going to be closed. And as a result of that, I was one of four women chosen to be, um, a member or take part in a study to decide whether civilians should become executive officers of military bases. So, they sent us to Army Management Staff College, and I was one of the four women that attended that. And so, the idea would be that I would become an executive officer of a military base so they could station military in the field. The problem with that is there’s no military that’s going to listen to a civilian as a boss. So, you can ask my son-in-law about that, ‘cuz he was Army. In fact, my daughter met him there in Germany. But, yeah, that was one. And then with the U.N., when I went to Africa, there’s all kinds of―I want to say―conflicts going on, including Somalia, Rwanda, during all that time, and so, yeah, I saw a lot. In fact, I was car-napped and my own personal safety was in danger there, not only from being exposed to so many people that were dying of AIDS, but because of the tribal—there’s like forty tribes in Nairobi alone and there were conflicts and a lot of cultural differences between the tribal people and a lot of, um, little―I want to say―mini wars going on 4 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 and the political strife, and then of course, it was pretty bloody with Rwanda and then Somalia in that area. But I got to travel all over Africa, looking at—my job there was to consolidate the U.N. organizations in Nairobi and the base was called Gigiri, and, um, I got in trouble there, because I tried to support the local indigenous people with the financial area. So, if you want to talk about wars, and danger, and stuff like that, I think people think of shooting, you know, and bombs and stuff. But there’s other kind of wars, like economic ones. And I came up with this idea that civil service employees in international organizations should be cay—should be paid equally. But they have this system in the U.N. where local nationals are―have to go through a wage classification survey and they get the prevailing wage rate, whatever that country is. So, in other words, my secretary in Austria would get $3,000 a month, but my secretary in Nairobi would get $300 dollars a month. Kallas: Oh... Tawfilis: Yeah. And I just didn’t think that made sense, working with the U.N. So, it was kind of a battle there, and I think that was the biggest war for me, is trying to help the local nationals. And I did some―I want to say―out of the ordinary things, like promoting them when other people went out on mission they would hire people to come in and pay them exorbitant amounts of money, including me, because I, I was on a stipend on a daily basis, in addition to my very high salary. But the work was done by the local people. I think that happens everywhere, that the real worker bees don’t get recognized for the, all the work that they do, and they carry on the mission of whatever that country’s, you know, objectives are. And so, I think that’s one of the reasons I got car-napped, because I had a big mouth and I actually wrote a book about how to flatten the United Nations. So, they sent me back. I was on loan from the International Atomic Energy Agency in Vienna, Austria to Africa, and because I tried to help the local people, I think I wasn’t going to go much further, after ten years, you know, working for the U.N. So, that was my personal battle when you talk about wars, and dangerous things. I mean, when you get to the point where they don’t want you to talk―and it wasn’t the U.N. that did it―it was a person that probably wanted the job that I had―that arranged for this kidnapping or car-napping that I survived. So… Kallas: So, you also, um, had spent time in Bosnia during that— Tawfilis: Yeah, at the end of my career— Kallas: —that was after all the— Tawfilis: with—I was getting ready to retire and, uh, because I was on loan as a very highranked civilian, the only place they could put me would be the Pentagon in Washington, D.C. and I didn’t want to move to Washington, D.C. I’d been at the headquarters many times with my job with the Army. I did a lot of stuff for the Army, like I said. And I really didn’t want to move to Washington, D.C. So, they gave me a choice of going to Bosnia and working with the widows at Srebrenica, at the end of the conflict in the Balkans between the―where Yugoslavia had broken up. And I went on an interview sponsored by the Clinton Foundation to be the Director of the Bosnian Women’s Initiative or what they—most people know as the Widows of Srebrenica, 5 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 where at some point they gathered the Bosnian women together―and I should say the Bosnian families together―in their village called Srebrenica which was a safe haven. And unfortunately it wasn’t a very well protected safe haven, and on July tenth and eleventh in 197―uh, 1995, the Serbs came in and gave the people ten minutes to come outside, and they put the women on one side of the street, women and children under fourteen and old people, real old people, and then they put the men and boys on the other side and then they took all the women, put them on buses and sent them to a village in the mountains, in Tuzla. And the men disappeared. They found some mass graves. They found some bodies in a forest where they were―tried to run away, I guess, some of the men. And, but they never found the whole―I would say, whole group of the over six to seven thousand. They, they suspect―there’s a lot of theories, and a lot of books written about it. But my job was to work with the women and help them do economic development and to heal and to also help identify bodies and get all their data because they had no pictures of their families. They had, you know, all this stuff that they—they left with nothing. And then to try to help reconciliation between the three entities, and I ended up, you know, working my, my heart and my head off, because working with people who have lost everything and witnessed the destruction of their country and their families getting killed and murdered and their men disappearing, and these were mostly farm women that didn’t even know how to write their name. So, I think I worked harder in my life those three or four years that I was there doing everything from gathering information to help put the war crimes together because these people were still on the loose. And then throughout the years, the military would find them and capture the war crime perpetrators and bring them to the Hague and they were imprisoned, and some of them—I won’t name names—passed away in prison before they could be tried. But it was terrible trying to identify remains with the women. Maybe it would be just shreds of a shirt but they recognized their husbands. And then having all that emotional—I think I have a whole book of stories I could write about their suffering. Kallas: Mm-hmm. Tawfilis: But because of that, I was encouraged to go work in the orphanage and there three hundred fifty orphans. I have a TED talk online, TED-X from Orange Coast College. And, it was―it’s called “Painting Outside the Lines.” I also have one from UCSD “Stem to Steam” because I put the art part in there. But back to the Bosnian situation and I guess as the point of my career that changed my life that we were going to talk about, because when I saw what the children had gone through and I―they―they told me—you were getting— I was getting very depressed, and they said “you need to go work in this orphanage.” So, the three hundred fifty orphans from all three entities, but they had not found or located all families. So, some of the kids had no survivors. I understand that most of them they were able to place them years later. But while I was there, my―my, uh, free time, if you want to call it free time, was to go and work with these kids to do art. And then after about three months of just sketching and coloring and stuff, they asked if they could make a very big painting and I interpreted that as a mural. And so if you―you’ll hear on the TED talk, how we found bed sheets in a closet that were full of sort of darned holes and the―they explained to me that the young ladies in Europe learn how to sew, which we did away with here in the United States. But there they sew everything. So, when they 6 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 pulled out the sheets, and they had all these little stitches, and some still had holes, I, when I asked them what the holes were about, they said “Well, this used to be a hospital, and it was bombed. So these were from the shells and the shrapnel that, that, you know, made holes in the walls and the bedding and the whole bit of the ugly hospital beds over there.” So, what I did was the Army had left a 10-gallon pan―pail of white flat, white wall paint and I, I had them sew two sheets together and I put masking tape on the back where I thought there were the least amount of holes and then I just painted. I put a whole bunch of newspaper, and in the morning it turned into a very stiff canvas! So, we had a canvas and the kids got very excited. Every time I think about their faces when they saw that, and then it was like “Oh, we’ve got to paint that whole thing?” You know… Kallas: So, that’s when your two careers intersected, so you kind of went back to—. Tawfilis: Right. Kallas: roots, and— TAWFILIS: And I got to do art, right? So, but what changed my life were the, the children and the oldest one was about eighteen and then they had a little eighteen or nineteen-month-old baby in there, and they divided the kids up into groups of five. And they took two older, mostly teens, and then three younger kids, so they could take care of each other, ‘cuz they only had five people running this whole orphanage. There was psychologist, and then the other four were caregivers, and they cooked for them, and made sure that they were, you know, trying to keep them busy. There were—I don’t even think they had formal education for them, because there was nothing. And they were just being protected and fed, and trying—and I think doing the art was a real important thing in their lives. So, how my life changed was, the kids started—I said “you have to decide what you want to paint.” So, what they—I had them do, is I said “Draw something that you want on this canvas.” So, they all did it, and I still have some of the sketches. I should have brought some. But they, they, they had to come up with an idea that would go on the canvas. So, we looked at all the drawings and they started forming this dialogue and they started talking to each other. And you have to understand these kids were very depressed themselves, and they had these real— Kallas: Traumatized. Tawfilis: Yeah. They were all traumatized and they were kind of afraid of each other when they were—they knew that one was a Serb, and one was a Croat, and one was Bosnian. And they didn’t―they matched them up by age, not so much by what sect of religion they belonged to. So, and in children weren’t so attuned, maybe the older ones were a little bit more conscious of their religious differences, whatever. But in the discussions that they were doing, they started talking about the trauma that they had gone through. And some of the kids knew each other from the different villages that they had come from. And I found myself going outside, crying myself, because they started talking about what they saw, what they felt. And even now, when I think about it, it’s still—it burns a hole in your heart, but it—I wondered how this was going to work. And I’d go back in, and then they decided on a theme. And what was happening is they were going through a catharsis themselves, and they ended up with coming up with the theme 7 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 “Yesterday and Tomorrow.” And the Yesterday section of this one―I guess we would call it a triptych in our art language, Yesterday, they did sketches of houses that had no roofs, ‘cuz they’d blown up. Airplanes dropping bombs, and then because the women were wearing kerchiefs because they were Bosnian Muslim, they had their heads covered. There, a lot of the little drawings had little pictures of women lined up, going, and they remembered having to come out of the houses in Srebrenica and line up on the other side of the street. So you saw―you would see sketches of that, and dragons, and just ugly things that they, fires, things burning. And then the middle section where they had put the groups of five together, they drew their little new families, which was really cute. Kallas: That’s awesome. TAWFILIS: And then on the third panel was, were flowers and clowns and balloons and stuff like that. So they called it “Yesterday, Today, and Tomorrow.” So after five days of going through that, I can say that was a life changer for me, and, and I was telling my husband about it, and we, we made that first mural, and he was in the process of constructing a new building, me, a gallery, and we called it Avenida de Los Artistas. So, we had a Spanish name in a German country, speaking country in Austria. We started, he started doing murals, or I started it on the wall, one of the walls of the museum that was being built, at the gallery. So, when I’d go back home, we were making murals, and after about a hundred of them we said “we should make this a project.” Because the latch kids would be coming, then the schools started sending kids over. So we turned it into a project, and actually Foulad, my husband, was the man who came up with the idea of calling it “Art Mile.” We didn’t know it was going to turn into twelve miles! But that’s how it started. And then at one point I met a professor from Wesleyan University, and I did some murals. The very first mural we did outside of Bosnia was in Austria. And then on one of my trips back to Connecticut, I met this professor from Wesleyan, and we did one at the university there. And he said “You need to tell the U.N. about your project.” And, so, there are lots of things going on, wars, conflicts all over. And so the United Nations had set up a program called the International Decade for the Culture of Peace. And it was founded by Ambassador Chaudry of the U.N. who was at the time Under Secretary General for small developing nations and island nations. And he had written the resolution to start this International Decade from 2001 to the end of 2010. And so my husband and I had this crazy idea of going to New York and getting him to support it as a U.N. project. And at the same time, the son, the grandson of Jacques Cousteau heard about us, and said “I’d love to see what you’re doing. Maybe you should do murals about the sea.” So he flew from London and met us at the famous hotel in New York, and I was, while I was there to meet Ambassador Chaudry and said he would love to see us do murals about the oceans and the sea and the water. And at that time he was at grad school, I believe. And so our very first celebrity fan was Phillipe Cousteau, the son of Phillipe Cousteau, who passed away in a plane crash. He was one of the two sons of Jacques Cousteau. So we went on to the U.N. and just unrolled five canvases, one of them was done in Nairobi, and it went all the way down the hallway, cuz they were five feet by twelve feet, so we had almost fifty feet of canvas going down the hallway and Ambassador Chaudry’s office took up a whole floor of People in the U.N. building and they all came and looked at it and they all fell in love with the project. And that’s when we got his support and endorsement, and we started doing murals. And 8 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 now we’ve got over twelve miles of murals from all over the world, which many of them are right here in this building. And our headquarters is in North County and Oceanside. Kallas: And that is called? Tawfilis: The Muramid Arts and Cultural Center. We had it set up as the first mural museum in the world, and for people who don’t know the word “Muramid” comes from murals that were being constructed into a pyramid which we had set up a project. My husband came up with the design and he did the photography of over a thousand murals and did them in miniature because we were going to create the Muramid Pyramid at the great Pyramids in Giza. And at the time, we had also, I had retired. We had moved to Egypt. We have a home there. And my husband spent a lot of time and a lot of money. What we called Back Cheese, with the paying under the table to the Minister of Education, Minister of Culture, to do a fourth pyramid to be constructed with piping, I don’t know if they call it, it wasn’t the PPV―PVC piping, it was metal. And he designed that. And then a company here in Oceanside―not Oceanside,―in Irvine, “Supercolor Photo,” were kind enough to make the model and take my husband’s design of the miniature murals and make a cover. And we were able to have a ten-foot model that we were going, we used in several places. In fact, we have ten models all over the world right now, including Japan. And we participated in international conferences and things like that. And the whole idea was to have, to have [someone enters the room, off camera] I thought I locked the door, sorry. Anyway, the whole idea was at the end of 2010 we would have this celebration to commemorate the closing of the International Decade for the Culture of Peace. And then, what happened was, because we had so many conflicts we ended up with a second decade, which ended at the end of 2021. Kallas: Now all of your—you have twelve themes for your Art Miles. Tawfilis: Mm-hmm. Kallas: Can you share a little bit about that, and what, what people gained from doing these murals? Tawfilis: Sure. The first thing that we did was Peace, Unity, and Healing. And then we ended up with the Women, because the women’s influence on art and healing. That’s where the healing part came in. And you know when you think about peace, unity, and healing, then you talk about women and their role in it. And then we started environment, because everybody started complaining, and worrying about climate change. And as you know, that has a subject that has increased so many, so much all over the world. And it’s happening. We’re all experiencing that. And then we started doing murals in response to every human and natural disaster. That’s even when 9/11 happened in 2001, it was a big deal and we did, like, many murals and actually exhibited some of them on, at Ground Zero. We were there, doing the mural, at Georgetown University on September 11. And we got sequestered into the hotel that we were staying at, because we were doing a Children’s Environmental Health Network thing. But anyway, back to the themes, so that’s how the environment started. We, the third one was Children’s Environmental Health Network where they actually did a film about us there. And while we were doing that, we ended up being, watching the Twin Towers come down. And then from there we 9 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 started Children’s and then Fairytale and then Sports and Music, and so now we have Hero and we had—then we started the Japanese government, or I should say our Japanese team started doing an exchange program. They called it, they call it the International Intercultural Mural Exchange where they do half of a mural in Japan and the other half in another country, with another school. So, there’s four hundred forty murals for each themed. They’re all, not all five by twelve, some of them are half sized. But our goal was to at least get to twelve miles, and then in 2008 we attempted to break the Guinness Book of World Records. But three weeks before that, we found out that the United Arab Emirates had already done that with the longest mural in the world. And we couldn’t surpass it, because they, they would, they did like ten-mile, not ten miles, ten murals more than us. But, even the, the grand master, whatever they call them, that comes to do the, to officiate measurements stuff, said ours weren’t connected, and they want a continuous theme. So, what the, what happened with the United Arab Emirates, they did, they did, I think at that time, like four miles, about women, and it was done for International Women’s Day and they featured the, all the children. And all the schools did murals about the sheikah, or the queen, I guess. And then they had to burn it, because it was done on paper, and Islam doesn’t allow images. So, but they did break the record. Plus, it cost ten thousand dollars to bring the guy over, and we didn’t have that kind of money. We still don’t have that kind of money, because we do it all from our hearts, very few donations. Kallas: And can you talk a little bit of how the initial concept of murals has evolved over the years, compared to where you started in Bosnia, and to where you are right now with the murals. Tawfilis: Yeah. I think the biggest change is education. We found that education has come to the forefront because whenever, whatever thing you’re working on, it teaches you something, you know, whether it’s fairy tales that are originally thought of by children and from their imaginations or sports. There are―you learn what the sport’s all about. Music, the same thing. We’ve even had music murals created while people are looking at a mural and they write music about it. And then, or vice versa. Or when it’s in the indigenous mile. At one time we presented a—because I was in Connecticut at the time, we had someone present the idea of doing—we discovered there were five hundred fifty recognized tribes. And so they did a resolution at the National Congress of American Indians, NCAI, that each tribe would contribute a mural. But we got so busy, and then my husband passed away. We have never followed up on that. I don’t know how long those resolutions last. But I would love to revive it. But since that time, I’ve also discovered there’s a whole bunch of non-recognized tribes. And I think that has appealed to me more, because I feel like, how could you not recognize a tribe? I don’t care. I know that there, their requirements have DNA and numbers of members and whether they have a reservation or whatever. But, it’s not accounting, some of the tribes don’t get credit for just being there, and being there first. And they were decimated by whatever colonial tribe or―how would I say―shouldn’t be―that’s the wrong word―colonial influence that came in and took over those lands, even in our own wars, in the Civil War. Even before that, they, you know, the genocide of Native Americans is something that most Americans don’t even know about. They don’t even know about there’s so many tribes in every country that they went through the same thing. You know, the genocide of every African nation. There’s thirty-three countries in Africa! And most Americans don’t know that. There―you could go there, and you could say “The Dutch took over 10 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 this country. The Italians did this country. The Brits did this.” You know. And they left their influence, but they also started slavery, and brought it here. And then―and I think that’s why there is a bond between a lot of Native Americans. When you―one thing I’ve even discovered more of later in my life is how Native Americans helped so many slaves, you know, following the Civil War. Protected them, and hid them, and intermarried, and that’s why there’s a lot of controversy among white people about―they had this concept the Indians were “red.” First of all, I don’t think I’ve ever seen a red person, or a yellow Chinese person, or maybe caramel, like me. [both she and Linda chuckle] And when you think of black, kids in school when you say “These are Africans.” They use black crayons or black paint. There are some very black people, I think. Some countries have all shades. India has black India people from East India. And Senegal people mostly are darker than most, you know. But there’s also a whole shades, hues of people. But like Aki, our drummer, says “Inside we all have red blood. We all have bones.” You know, and when we all die, you can’t tell, maybe by the―anthropologists will tell you about the skulls and the framework and stuff like that. But color? No. Religion, you know, that’s another thing. So, the other—to get back to your question. The other evolution has been healing. I think the focus now is more on healing, because we have so much―what’s the word―conflicts around the world. And then personal violence going on with school shootings and the massive massacres with massive killings all over and accidents and natural disasters, with hurricanes and floods. Right here in California, the fires, right here! They came right up to the back door here, you know. And if you drive up through the mountains going to, to go buy a pie, you’re going to find out. You drive through all the reservation areas and you see where the fires from the past―you see those still the black, some of the trees, and there’s a big contrast with the silhouettes of those trees and then the―now the overgrown greenery. It’s so beautiful, and you know, things like that. So, healing has made a big difference, because when people―and what I’m really, I think, what I’d like to share in this interview with you―is that healing isn’t just the murals that we send to the people who have been become victims and their families of those who were killed or injured in these horrible violent events or disasters. It’s us, ourselves. When each school shooting happens, how many parents and people with a heart feel that pain, of, of—I can’t—every time I hear of a school shooting, I think of those poor little kids, and I grieve for them and for their families and for the friends and the neighbors that were there. And my first exposure to that was actually the, the widows watching those children, and then 9/11 when the Red Cross had murals being done all over. We have some amazing murals that came from all over the country and the world, displaying their feelings. And one of them, one of the ones that stands out in my mind, is Hope, Alaska did one. And it, the whole mural is the word “Hope” but inside the word “Hope” they drew people, and a lot of native and indigenous people are in that. And then, when Sandy Hook happened from my, where I’m from, Connecticut, I went there, and to see those little children, you know. How can anybody go in and kill all those little tiny kindergarten kids, and the teachers? And then what people don’t know there’s, in America, there’s a place called Besan, near Russia, where the radicals, and the— Kallas: Government was involved in―. 11 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 Tawfilis: Yeah, over two hundred people, two hundred kids and teachers killed. And then again, recently, you know, I mean we could go on and on. And every time we did a mural, it was like once or twice a year, and now, I mean, I think in July we had three shootings, and, you know, things we had to respond to. And actually, I’m behind! We haven’t been able to do, Massa from the, Mahsa Imani―Amini, from the―from Iran, because we’re so busy. We just finished Ukraine, you know. There’s just, St. Louis. All this stuff keeps happening. So, healing! Kallas: So, part of your process in dealing with this tragedy is there’s a healing element for you to respond to those through a mural. And you send those murals to those places, correct? Tawfilis: Yeah. And we’ve been lucky. Sometimes we hear back, and sometimes we don’t. Because you can’t expect everybody, every city and town, to say “Oh, gosh, all these people.” You know, people send food and clothing. And a lot of people do art and murals and flowers and, and stuff like that. So, I know, you know, part of giving, what people don’t understand is we give and we do murals from our heart. We don’t expect a lot in return. What I expect is when people paint a mural to send that they are sharing that same emotion that I feel that they want people to know that we’re thinking of them, and that we’re sending our prayers and good wishes. I know people think that a lot of non-governmental organizations do things for money. Well, we’re, we’re a great example of “No” [laughs], because― Kallas: Non-profit. Tawfilis: Yeah, we are a true non-profit. And my husband and I and a lot of people have contributed. We don’t have an overhead staff that we, we pay for. We can’t. We just don’t, you know. Thank goodness we have good―there’s so many―I focus on the good people and the good things that come. If I started thinking about what I have or what I don’t, you know, what I don’t have, with other organizations that get grants, and they have sponsors and philanthropists look at them, I would never be able to do what I do. At this age, I’m just now starting―we have a Foundation that we’re working on, and my goal is to finally, if I realize it, if I want to have a legacy in the name, in the memory of my husband who gave up his career, and out of my true care and I say, I want to say concern for people who are suffering, and indigenous people, I think that’s why I want it here. That’s what brought my here. I think the Creator, whoever your Creator is, my Creator is a number of spiritual things, that I saw this place that we’re sitting in right now before we opened the Muramid and Artists Alley. And my husband said “It’s too small. It looks like a house!” And it was full of crazy stuff that had been here before. So, it was neglected and smelly. It didn’t have high ceilings when we peeked in the windows, and he, he just kind of passed it on. But, something called out to me in this place. And I remember driving around one day after I knew I had to leave Artists Alley, because he passed away. I hadn’t, didn’t have the infrastructure and the help that I do now with Aki and his drumming and neighbors and friends and people that have helped put this thing together. I remember driving around and it still had a For Rent style on here―sign―and I parked the car and I called the guy and the property manager. And it was still in the same shape that it had been, I guess, six years before. So, this place had been empty for a while. I think maybe something might have happened in between, but I doubt it, because judging from when we did get inside, and there was a lot of feces, dead animals, all 12 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 kinds of stuff. But I can feel this place. When we took down the ceiling, because it was that―what do they call it―insulation hanging down, and I looked at the wood, and I realized “Wow, this place was here a long time ago.” I didn’t know the history of the place, but I’ve been told it was the original general store for the Mission. Kallas: Oh. Tawfilis: And then when I found out about the Mission and, you know, being a Catholic, in a former life, I thought “Wow, this is pretty cool!” Then I remember reading, like other things in Connecticut, that there were people here before the Mission came, and I got really passionate about “I’m going to put it right there.” And I want to dedicate the place to the Luiseño, because I found out that they are the people that this belongs to. And everybody that comes in the door, every single person, I can’t think of one that hasn’t come in the door for the first time and goes “Wow! This place, it has such great karma. It feels warm and friendly, and it’s inviting and it’s good to be in here and it’s so creative.” And I went [claps her hands together] “Yes! That’s what we’re all about.” And so, I think we are an important piece of the history of this place because I feel like an archive in here, of some sort. And the Mural Project has found its home, and I think that’s an important part of being the history up here in the North County, to have a project that’s global in scope that has been participated in by over a half a million people from over a hundred countries. To land in a place that is based on what everybody should know about indigenous communities. My hope is that―and I started out with my husband and I both said, you know, before we wanted to feature different cultures, because we felt that Americans weren’t quite educated enough to understand the diversity and the richness of cultures from other people, and other countries, including this country, you know. There’s so many―and I don’t want to use the term “white”―but there’s a lot of American, white people who don’t understand that they came here from other countries as well. And in their own country, if they look back in their roots, they’ll find out that they come in different shades as well. Kallas: Mm-hmm. Tawfilis: And that the stolen land―you know, recently I watched a documentary about Alabama where the last slave ship came in and it was against the law to even bring slaves after 1860 or something like that. But it was one ship’s captain who said “I can show you how to do it, and I’m going to prove it.” And he did it out of rebellion and brought a hundred and twenty slaves from Africa, made them get off the ship, near Mobile, Alabama, and in the water, the swamp, they got on to the land. I understand they stayed there for a few weeks and then they divided them into three different plantations. But they burned that ship in that. They said they wanted to get rid of the evidence. Well, that was a genocide in and off itself, of history. And now after four hundred years or whatever, they’re finding all these remnants. You can go anywhere, even here. When we started doing the back, we found a cross in the yard that, that must have been buried in the ground from whatever was here before. And I always wondered what happened and what’s going on with all this gentrification and the new building over there. It hurts my heart. And I talked to a Luiseño member who is one of our drummers, a woman, she said “every time she goes by” and she’s a school bus driver, she said “it hurts my heart.” Because she knows there’s another thing 13 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 covering it up and erasing part of the history of this place. And I’m really sorry that, you know, recently the newspaper said “the wave just got approved with the valley over there, and the rest of the valley. And I live in a place that I look at that, and I, I could cry just thinking about it. Right across the street from Pablo Tac Elementary School. They’re going to build a wave park like we need one so close to the ocean? I mean, come on. Commercialization is just really destroying the natural history of many places including right here where we live. So, I’m hoping that the owner of the properties here will never let this place become that wave even though I can see a beautiful little old town here. You know, I like to see more cultural things happen here. And I’d love to see the cultural district expand from downtown to where the real history is here. I mean, uh, it’s to me almost sinful that we don’t put more emphasis on what the history of this area, of Oceanside, is all about. It’s all on the front, at the waterfront. It’s all commercial. They even destroyed the waterfront in my eyes, by putting all that, the hotels and stuff. Kallas: Well, in trying to put it all together here, in breadth and in depth is community building. Tawfilis: Correct. Kallas: Through the murals, through the other work you’ve done. It seems to be the main theme of your life, and now you have the Center. And doesn’t it also have something to do with UNESCO? Tawfilis: Yes! We recently became the UNESCO Center for Peace for all of California and Baja. And with that I think will help enhance my opportunity and all the people that work with us to bring more cultural education and healing to this area, and to educate people about what real peace begins with me, and our neighbors and our families. And then, you know, I know this all sounds very philosophical but it’s true, you know. And, um, I think we have a pretty good mayor who supports local people more than others that I’ve seen. Maybe it’s because I see her out there in the community more than I’ve seen other mayors do. And I know that she is of Mexican descent, but I also believe that Mexicans have a lot of indigenous people here as well. Kallas: Right. Tawfilis: And when I talk about Mexicans, I don’t mean that they are the invaders of the people that took over. They too have been, you know, victims of genocide. All this belonging to part of that. But the first people here from all the history that I have been able to do my own research on, were the Luiseños. And so, my passion and dedication is going to be based on that. I am going to be looking at other cultures and introducing the people of the world to our local community through this center. But this is―This year, the Valley Arts Festival will feature my dedication to that. As I have this painting behind me. It’s kind of weird that we have this Mexican lady, native, behind me, and then my dancer, and then I am going to do a dedicated mural to the Spirit of the Valley, and to the tribal captain and a woman who happens to be his sister who I think is, in my eyes, the official historian of just about everything that could ever happen to the Luiseños here. And I feel very fortunate, um, coming from where I do, and what I did in Connecticut with the Mashantucket Pequots to see them grow and have the best museum in my eyes, in the whole world, indigenous or otherwise because it’s interactive. To be with people that are still alive that I can talk to and interact with that live right here in this community. So… 14 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 Kallas: So, going forward, what, um, what other projects are on the horizon for you. Tawfilis: Well― Kallas: Besides what you just talked about, are there other avenues that you’re going to pursue? Tawfilis: Oh, thank you for asking. Because one way of documenting history is books. So, I’m writing, actually there’ll be four books that I hope will be coming from me. But interacting with other people, we’re doing, taking the murals now, what am I going to do with twelve miles of murals? My goal is to convince the Smithsonian that they need to take these, because to me it’s a visual documentation of two decades or more of history by the people and for the people. This is their words, not some author who wrote a book about the history of something. It’s from all over the world, and it addresses social issues everywhere. So, what I’m hoping to do is we have a Foundation that we’re going to be―we are part of, called the Endangered Planet Foundation, and our project will, will be embracing that and taking the mural images and trying to create practical products from the mural images and raising money through the sales of textiles and books and things like that, tangible things that can go into a fund that will keep this project going, and long after I’m gone. Hopefully until then I can help form a solid board and we can end up hiring a staff which we’ve never had, to carry on this project, because I think it’s something that can continue. Mural art has been growing all over the world. The cave men have come a long way from their images to creating murals not just on walls but on canvas and ours is mobile. I wanted to have a voice for people that could be shared, not stuck on a wall that you’re never going to― I’m maybe some people will never get to Machu Pichu or to the Egyptian temples and pyramids or caves where we have here in the United States with etchings and things on them. So, this way we can bring people closer together. So that’s the future, is I want to leave a legacy and because I know what works. What other non-profit organization can survive for almost twenty-five years with no money? I’ll tell you why. Because people believe in it, and we believe in it with all our hearts and souls. And, as nearing my seventy-seventh birthday, I bypassed seventy-five because of Covid. I think we have proof in the pudding, so, yeah, that’s the plan, is to continue. Kallas: And speaking from personal experience, I’ve actually experienced the healing process and that sense of community where we’re all working on the same thing at the same time. There’s just so much unity in that and it’s very, you could really internalize that. Tawfilis: Well you know the big―bottom line is mural art gives you a chance to express yourself even with a group, because as you know doing quilt, we do that kind of style with murals as well, in different forms or whatever. You get to express yourself individually but you do it with a group and it brings you all closer together, and in doing so you talk to each other, and the bottom line is you find out how much more we have in common than we have in differences. Which sounds like a cliché, but boy it’s true. Kallas: It’s very true. Tawfilis: We actually do it. And we make ourselves, I mean, better people because we get to know and appreciate other people’s opinions, even if we don’t agree with them. We hear what they’re thinking and feeling, and we learn a lot from each other. And I think that’s how peace is 15 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 going to happen, when we begin to open our minds and our hearts to understanding that we’re different but we all have the same basic common needs. We all want to eat. We all want to be able to have a home over our heads and feel safe. And the richness of having other cultures influencing your life―it’s like if you’re only going to eat American hot dogs and hamburgers, what a boring life that would be, right? [Linda laughs] I always think of it simplistically like that because you end up going “Gee, I like Thai food. I like Chinese food. I like Italian food. Whatever.” Well, that comes from people, you know. And so, the blend and the magic of seeing the dancing from, and the music, the different forms of music, and you can be native American and play rock-n-roll music. I happen to know somebody who can do that and do it well. Or a Filipino that can sing beautiful, musical songs. Or the homeless people with the choir that was started right here from North County. I mean I think that’s a great, you know, cultural contribution to history. So. Kallas: Well, Joanne, thank you so much. It’s been an honor and a privilege to do this interview with you. And I want to repeat something I recently told a mutual friend about you, that I truly think you are a work of art. Tawfilis: Oh, my goodness. Kallas: And I just thank you so much. Tawfilis: Well, thank you. And I also want to say that I did get a PhD at the age of 71. So, my message to all those who think that you never learned and you can’t earn a degree as you get older, you’re wrong. You can get it, and mine was honorary, and I’m really proud of it now because I used to think―I’m very humble about it because I do understand how much hard work goes in to doing a dissertation. I almost got there. I could have done that, but I traveled so much I couldn’t finish. But understanding that when you do a life’s work dedicated to something, I think it’s deserved. I’m saying that today for the first time, that looking back on my career, I did earn it. Kallas: Yes, you did. Tawfilis: And I’m very happy that my, if my dad were alive and I received a big award when I retired. I got the highest award you could get as a civilian and they gave me miniature medal. It’s from the military. As well as a big one. And when I went to Arlington I put that miniature beneath my dad’s cross at Arlington National Cemetery. And I, when I got my PhD, my first trip to Washington, D.C., afterwards I went directly there, and I told my dad “Guess what, dad? You wanted me to get an education, and I got a Ph.D.” Kallas: Wow, what a great note to close on. Thank you again. I really appreciate this. Tawfilis: Thank you. [Looking off camera to someone else] Did I put you to sleep? Unknown male voice: No, that’s a wrap. 16 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 GLOSSARY: Aki (pg.11,12) Ambassador Chaudry (pg.8) Americorps (pg.4) Arlington National Cemetery (pg.16) Army Management Staff College (pg.4) Artist’s Alley (pg.2) Art Miles (pg.2,8) Back Cheese (pg.9) Base closure team (pg.3) Besan (near Russia) (pg.11) Bosnian Women’s Initiative (pg.5) Broadway Pier (pg.2) Chicano Park (pg.3) Chief Joseph (pg.3) Children’s Environmental Health Network (pg.9) Colville (pg.3) Endangered Planet Foundation (pg.15) Foulad (pg.8) Friendship Program (pg.2) Gigiri (pg.5) International Atomic Energy Agency (pg.4,5) International Decade for the Culture of Peace (pg.8,9) International Intercultural Mural Exchange (pg.10) Kettle Falls (pg.3) Luiseño (pg.13,14) Mahsa Amini (pg.12) Mashantucket Pequots (pg.14) 17 Transcribed by Melissa Martin �TAWFILIS, JOANNE TRANSCRIPT, INTERVIEW 2022-10-31 Mural Museum (pg.2) Muramid Arts and Cultural Center (pg.9) Muramid Pyramid (pg.9) National Congress of American Indians (pg.10) Nespelem (pg.3) Orange Coast College (pg.6) Pablo Tac Elementary School (pg.14) “Painting Outside the Lines” (pg.6) Peace, Unity, Healing (pg.9) Sergeant Shriver (pg.4) Srebrenica (pg.5) “Stem to Steam” (pg.6) Submarine School (pg.2) Supercolor Photo (pg.9) Tuzla (pg.6) UNESCO Center for Peace (pg.14) United Nation Environment Program, Nairobi (pg.4) Vista Volunteer Program (pg.4) 18 Transcribed by Melissa Martin � 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 Tawfilis, Joanne. Interview transcript, October 31, 2022. Description An account of the resource Joanne Tawfilis is the executive director of the Art Miles Mural Project, which has had the participation of over 500,000 people from 125 countries to paint murals. Tawfilis and her late husband Fouad started the Art Miles Mural Project after Tawfilis worked with orphans in Bosnia, where they created a murals using the only materials available -- a 10 gallon can of white wall pain and bedsheets riddled with bullet holes. The Art Miles Mural Project is currently homed at the Muramid Arts and Cultural Center in Oceanside, California, where there are electronic displays of over 5,000 murals, art classes, music, and spoken word performances. Tawfilis has had a storied career and has worked with the United Nations Environment Program (UNEP), the International Atomic Energy Agency (IAEA), the Women of Srebrenica Project, and UNESCO. In her interview, Tawfillis discusses her career working as a civilian employee of the military, as well as her work with the United Nations, IAEA, and the Women of Srebrenica Project. Tawfilis also discusses the creation of the Art Miles Mural Project, the Muramid Arts and Cultural Center, and her thoughts on art as a vehicle for healing, empathy, and peace. Creator An entity primarily responsible for making the resource Joanne Tawfilis Contributor An entity responsible for making contributions to the resource Linda Kallas Melissa Martin Date A point or period of time associated with an event in the lifecycle of the resource 2022-10-31 Subject The topic of the resource Art Miles Project Bosnian Women's Initiative International Atomic Energy Agency Military base closures Mural painting and decoration Muramid Art and Cultural Center (Oceanside, Calif.) Orphanages--Bosnia and Herzegovina Srebrenica Massacre, Srebrenica, Bosnia and Herzegovina, 1995 Unesco United States. Army United States. Navy Women artists Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oceanside (Calif.) Srebrenica (Bosnia and Herzegovina) 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. Joanne Tawfilis 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> Format The file format, physical medium, or dimensions of the resource text Identifier An unambiguous reference to the resource within a given context TawfilisJoanne_KallasLinda_2022-10-31_transcription Activists and activism Art and artists Community history North County Oral History Initiative Politics and governance Women's experience