Built on all new information recently unearthed, this stylishly written and illustrated "timeline archive" of art, sex, obscenity, gender, culture wars, homophobia, pop culture, and the gay mafia, will get 21st-century readers and researchers up to speed fast on the serious fun of who did what to whom when and why.
The Excelsior District traditionally has not been among San Francisco's "spotlight" neighborhoods, yet this area is an important residential and commercial zone that is home to some 30,000 residents. These rolling hills south of San Francisco's better-known districts are now covered with row upon row of houses, streets, and apartments. But places like the Excelsior were once sparsely populated, agrarian, and even rural. This volume of vintage photographs chronicles the Excelsior's intriguing journey from rugged swamp and farmland to the busy cosmopolitan neighborhood we know today. It is a tale of determined immigrant families putting down roots in a challenging locale and overcoming adversity to stake out a permanent enclave in this famed city. It is also a story of large-scale construction and reclamation to tame the rugged outskirts of San Francisco.
Fourth book in the Cape Weather Mystery Series! If you're gonna box an octopus, best bring some extra arms... At the height of tourist season, an armored car drives off a crowded pier and sinks to the bottom of San Francisco Bay. By the time divers find the wreck, the cash is gone and the driver has vanished. The police are convinced it's an inside job, but local merchant Vera Young, whose boyfriend drove the armored car, claims it was much more than a simple heist. Vera swears the missing driver is innocent and wants him found before the police can throw him in jail. San Francisco detective Cape Weathers reluctantly takes the case but warns Vera that her boyfriend is likely guilty—or dead. What starts as a manhunt uncovers a criminal conspiracy of money laundering, illegal drug testing, and a network of corporations willing to do anything to protect their stock price. It's a case that Cape, the witty PI, can't get his arms around. And while his relationship with Vera is getting complicated, the list of people who want him dead is getting longer. Boxing the Octopus is a runaway tour of San Francisco's underworld which reminds us that when things get out of hand, having eight arms is always better than two. These quick-paced, often humorous San Francisco mysteries are: Perfect for fans of Laura Lippman and Thomas Perry For readers who enjoy private detective and California based mysteries
Winner of TransportiCA’s September Book Club Award 2018 On 17 October 1989 one the largest earthquakes to occur in California since the San Francisco earthquake of April 1906 struck Northern California. Damage was extensive, none more so than the partial collapse of the San Francisco–Oakland Bay Bridge’s eastern span, a vital link used by hundreds of thousands of Californians every day. The bridge was closed for a month for repairs and then reopened to traffic. But what ensued over the next 25 years is the extraordinary story that Karen Trapenberg Frick tells here. It is a cautionary tale to which any governing authority embarking on a megaproject should pay heed. She describes the process by which the bridge was eventually replaced as an exercise in shadowboxing which pitted the combined talents and shortcomings, partnerships and jealousies, ingenuity and obtuseness, generosity and parsimony of the State’s and the region’s leading elected officials, engineers, architects and other members of the governing elites against a collectively imagined future catastrophe of unknown proportions. In so doing she highlights three key questions: If safety was the reason to replace the bridge, why did it take almost 25 years to do so? How did an original estimate of $250 million in 1995 soar to $6.5 billion by 2014? And why was such a complex design chosen? Her final chapter – part epilogue, part reflection – provides recommendations to improve megaproject delivery and design.
By 1867 black San Franciscans had gained access to public transportation. In 1869 they were granted the right to vote by the state of California. In 1875 they fought for desegregated schools and won. Yet in 1957, Willie Mays was initially denied the opportunity to purchase a home in an exclusive San Francisco neighborhood because he was black. In Black San Francisco, Albert Broussard explores race relations in a city where whites, for the most part, were outwardly civil to blacks while denying them employment opportunities and political power. Understanding the texture of the racial caste system, he argues, is critical to understanding why blacks made so little progress in employment, housing, and politics despite the absence of segregation laws. When it came to racial equality in the early twentieth century, Broussard argues, the liberal progressive image of San Francisco was largely a facade. Illustrating how black San Franciscans struggled to achieve equality in the same manner as their counterparts in the Midwest and East, he challenges the rhetoric of progress and opportunity with evidence of the reality of inequality for black San Franciscans. Black San Francisco is considerably broader in scope than any previous study of African-Americans in the West. It provides extensive coverage of the city's black community during the Great Depression and the New Deal, details civil rights activities from 1915 to 1954, and provides extensive biographical material on local black leaders. In his reconstruction of the plight of San Francisco's black citizens, Broussard reveals a population that, despite its small size before 1940, did not accept second-class citizenship passively yet remained nonviolent into the 1960s. He also shows how World War II was a watershed for Black San Francisco, bringing thousands of southern migrants to the bay area to work in the war industries. These migrants, in tandem with native black residents, formed coalitions with white liberals to attack racial inequality more vigorously and successfully than at any previous time in San Francisco's history.
In Heavyweight, Jordana Moore Saggese examines images of Black heavyweight boxers to map the visual terrain of racist ideology in the United States, paying particular attention to the intersecting discourses of Blackness, masculinity, and sport. Looking closely at the “shadow archive” of portrayals across fine art, vernacular imagery, and public media at the turn of the twentieth century, shedemonstrates how the images of boxers reveal the racist stereotypes implicit in them, many of which continue to structure ideas of Black men today. With a focus on both anonymous fighters and notorious champions, including Jack Johnson, Saggese contends that popular images of these men provided white spectators a way to render themselves experts on Blackness and Black masculinity. These images became the blueprint for white conceptions of the Black male body—existing between fear and fantasy, simultaneously an object of desire and an instrument of violence. Reframing boxing as yet another way whiteness establishes the violent mythology of its supremacy, Saggese highlights the role of imagery in normalizing a culture of anti-Blackness.
Sonny Umpad's Eskrima provides insight on Maestro Santiago “Sonny” Umpad's life, philosophy, and teaching methods, as well as the structural underpinnings of his system. Born with the soul of a warrior, the intellect of a scholar, and a zealot's devotion to his art, Maestro Santiago "Sonny" Umpad forged an enduring contribution to the rich and colorful history of Filipino martial culture. In 1976, after immigrating to the United States, Sonny founded the school of Visayan Style Corto Kadena & Larga Mano Eskrima—rooted in his training in the Philippines and tested by a hard and dangerous life on the streets, Sonny's system was above all else practical. As Sonny's reputation as a talented fighter became well-known, he began to cross-train with masters of other martial arts, including Jesse Glover (Bruce Lee's first student) and Wally Jay (founder of Small Circle Jujitsu). One of the most innovative and visionary exponents of the Filipino arts, Sonny pioneered the concept of "mixed martial arts" long before the term was in use. Instructor George Yore has assembled the writings of six of Sonny's students (including Wade Williams, 2012 nominee for the U.S. Martial Arts Hall of Fame) to create a biographic homage to this remarkable martial artist; basic techniques and applications are also demonstrated, accompanied by 130 step-by-step photos. Practitioners of Filipino martial arts—as well as mixed martial artists and security specialists—will find valuable instruction in techniques and applications, while the thousands of people touched by Sonny's teachings will gain a new understanding of this notoriously reclusive master's life—and how his experiences informed the development of his system.
Easily the most enduring of all sports questions is "Who was/is the best . . . ?" Perhaps in no sport is the question more asked and argued over than in boxing. And in boxing perhaps none is more qualified to answer the question than Bert Randolph Sugar. In Boxing's Greatest Fighters, not only does the former publisher of Ring Magazine tell us who the best fighters were, he lists them in order. Could Sugar Ray Robinson have beaten Muhammad Ali? Could Sugar Ray Leonard have beaten Sonny Liston? The answer, most experts agree, would be "no." But what if, as Bert Sugar has done here, one were to take all the boxers and reduce them in the mind's eye to the same height, the same weight, and the same ring conditions? The answers would be quite different. And while some fans may express outrage that Rocky Marciano barely makes the top twenty, and Marvin Hagler staggers into the top seventy-five, others will nod eagerly when they read that Harry Greb and Benny Leonard were better than just about anybody. So whether you read Boxing's Greatest Fighters cover to cover, pick your favorites at random, or simply browse through the many rare photographs, "at the bell, come out arguing."