WEBVTT
Kind: captions
Language: en

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the broadcast is now starting all attendees
are in listen only mode hi good evening welcome

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to the Sanctuary Exploration Center my name
is Lisa Woonick I'm the superintendent of

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the Monterey Bay National Marine Sanctuary
and it is my honor to be here and to welcome

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you today to the 36th Ricketts Award so yes
and we have some great recipients I won't

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say more about that because there's going
to be another group of people after me speaking

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but I just wanted to take a moment to say
thank you to the Research Activity Panel that

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um really puts together the Ricketts award
every year and the research activity panel

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has was instrumental in designating the sanctuary
they were in place they helped put together

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our first action plan and they are still meeting
going strong and we really appreciate everything

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that the research activity panel does every
year this last year they've been working on

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some of our priorities kelp and climate and
one of our other priorities is to expand our

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connections with communities that we don't
typically reach and I am very pleased that

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this year the recipients of the Ricketts award
represent that um sector um Linda Yamane and

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Tim Thomas are really leaders in the field
of connecting us to the history of our sanctuary

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so and I also wanted to say thank again say
thank you to all of the research activity

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panel members some of you are here so thank
you for all of your years of service and um

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I'm going to now allow Erica Burton to follow
with some more words of welcome so thank you

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thanks thank you is this on Becky okay I noticed
it wasn't really

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elevated great thank you everyone for coming
my name is Erica Burton I'm a research ecologist

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at the sanctuary office and I'll be MC-ing
in tonight guide us through the night and

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just to let you know how we're going to proceed
tonight I'll give a brief background on the

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RAP and the Ricketts award in general and
then we have Steve Haddock the vice chair

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of the RAP he is going to present the awards
today he's also a senior scientist at the

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Monterey Bay Aquarium Research Institute,
and then we'll start with the speakers I'll

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introduce speaker number one Linda Yamane.
We're going to hold questions until after

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both speakers tonight so after Linda speaks
then I'll introduce Tim, he'll speak. Each

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will be about 30 minutes and then we'll hold
questions in the end and we'll probably wrap

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up around 8:00 if not sooner. So in general
about the Ed Ricketts award: the award was

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created to honor scientists who have exhibited
exemplary work throughout their career and

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advance the status of knowledge in the field
of Marine Science. And as Lisa said the first

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award was presented in 1986 at the Monterey
Bay Aquarium and this is the 36th year. Recipients

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are selected by the RAP and they are working
group of the Sanctuary Advisory Council. And

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recently as Linda sorry as Lisa alluded to
the rap broadened the criteria of the award

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to be for lifetime achievement in the field
of marine conservation, science, or education

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based in part on Edward Ed Ricketts' exemplary
ability to study the natural history and share

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knowledge in a compelling fashion. And just
a little bit about Ed I think you probably

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all know who he was but just to wrap up for
those online too he was born in Chicago in

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1897 and he spent a little bit of time at
the University of Chicago. Didn't finish there

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but he moved to Monterey in 1923 and he opened
the Pacific Biological Laboratories and he

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provided specimen and slides to many research
institutions and then Ricketts met John Steinbeck

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in 1930 he became a major influence on the
author's writings and his philosophy and he

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served as inspiration from many of his books
including Cannary Row. And they were on their

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famous trip aboard the vessel Western Flyer
who it's been refurbished it's in Monterey

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again you may have seen it this weekend he
and Ricketts Ricketts and Steinbeck explored

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the Gulf of California and collaborating in
the book The Sea of Cortez but famous in the

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scientist World also is that Ricketts also
wrote the Between Pacific Tides which continues

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to be a textbook for universities around the
country. But in the spirit of Ricketts and

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especially this year his work and unconventionally
holistic approach to science has inspired

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generations of researchers so it reflects
who we've selected this year for the award.

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So now I'm gonna hand it off to Steve Haddock
the vice chair to do the presentations of

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the

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awards. Good evening everyone. So as has been
mentioned the rickets award traditionally

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has gone to a scientist or researcher, and
I think this kind of reflects a lot of people's

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perception of the sanctuary itself where we're
focused on the organisms and the habitats

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and and the environments but one of the core
missions of the sanctuary is to preserve the

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cultural heritage and the history of that
region it's not just about the animals that

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we're so attracted to so it was really nice
this year that we could expand the rickets

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award to recognize two people who have made
um great contributions to those aspects of

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of our surrounding area and the sanctuary
itself first Linda Yamane she's a Rumsen Ohlone

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artist you can see some of her work back there
a historian and a culture Bearer. She lives

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in Seaside she spent nearly&nbsp;
four decades researching&nbsp;

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and reviving Rumsen basketry, language, stories,

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songs, and a variety of traditional Ohlone
technologies. And through pain staking work

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she's pieced together aspects of alone culture
and Rumsen history that were once thought

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lost. One thing that I found fascinating was
there are actual wax cylinder recordings from

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1902 of songs and there's some subsequent
aluminum recordings but she's been able to

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use that to return some of these traditional
songs back into the community which is really

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remarkable. She is known throughout the state
and internationally as a master basket weaver,

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having brought this Ohlone art back into every
day practice. She as an artist has Illustrated

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information signs for Monterey Bay and and
San Francisco Bay region interpretive science

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for for various agencies. She's written two
books of Ohlone stories one book on weaving

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and she's contributed to other books that
are promoting this traditional environmental

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knowledge, and as we will hear she continues&nbsp;

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to rally Rumsen groups and&nbsp;
pass on these traditional

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arts throughout the community through educational
programs. So Linda it is my pleasure Linda

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to present to

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you this Ed Ricketts award oh thank you

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congratulations can you get away from

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the

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[Laughter]

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Alright, so the other, no less distinguished,
Tim Thomas worked as a curator for the Monterey

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maritime and history museum for 16 years and
he has developed programs with the Monterey

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Bay Aquarium with California State Parks and
with the sanctuary itself. He was part of

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the expedition team, I I think it really put
the archaeological undersea archaeology on

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the map for the sanctuary, he was part of
the expedition that mapped the wreck of the

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airship Macon back in 2006 with MBARI and
with the sanctuary. He's the author of four

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books about Monterey history he leads walking
tours of Monterey, and he's also on the board

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of directors for the Japanese American citizens
League of the Monterey Peninsula. He's the

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curator of the Japanese American Heritage
Center and he's the current chair of the city

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of Monterey's Museums and&nbsp;
Cultural Arts Commission.&nbsp;

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So in recognition for his contributions to

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preserving our history and knowledge and as
you will hear tonight um some very interesting

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examples, Tim Thomas's the other

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And if you didn't have a chance I know a lot
of people were hovering around the food table

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this evening but Linda and Tim both brought
some artifacts and art basketry and books

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to look at so as you're leaving tonight after&nbsp;

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the question please stop&nbsp;
by there's some fascinating

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things over there. Alright, I'd like to introduce
Linda. So Linda is going to share her journey

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of discovery of her native heritage culture
through language, songs, baskets, boats, dance

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regalia, and material harvesting, it's a lot,
all of which reflect the richness of the Monterey

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Bay area, the relationship its indigenous
people have always had the land, and the depth

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of their resourcefulness and aesthetic values.
I give you the floor Linda. In 30 minutes

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or less [Laughter]

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Well um [Rumsen Ohlone spoken] good evening
and welcome everyone um Linda Yamane Rumsen

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Ohlone in Monterey, Carmel, [Rumsen Ohlone
spoken] my name is Linda Yamane I'm Rumsen

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Ohlone and the area of Monterey lower Carmel
River and Valley is my ancestral homeland

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so I wanted you to hear Rumsen Ohlone language
spoken, not that would have been spoken here

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but in the Monterey area because it's beautiful
to have our languages heard again.

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uhoh there you go wait how am I doing it oh
I just had to click on it okay okay so I would

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like to acknowledge that Santa Cruz is the
ancestral homeland of the indigenous Awaswas

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speaking Ohlone people with whom we Rumsens
are closely related though another alone tribal

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group has for several years been active in
Awaswas territory, I look forward to awaswas

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people becoming active and representing themselves
in their own traditional homeland. When earlier

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this year a young Awaswas friend told me that
she and other Awaswas people were being erased

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it really struck me, and she felt that they
were being erased because Santa Cruz was being

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popularly identified as another tribe's homeland
I knew at that time that I had to stop being

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silent on the issue and so I need to respectfully
state the fact that Santa Cruz is traditional

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Awaswas territory and homeland. Yay it works
now, okay. So I grew up knowing of my native

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heritage but very little of the specific culture.
My grandmother in this photograph here um

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still practiced the use of plant medicines,
but aside from knowing that our native ancestors

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had been baptized at Carmel Mission we knew
very little else at that time. I later learned

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this was the case for essentially all contemporary
Ohlone families. I really wanted to know more

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and as a young adult had a hard time finding
what I was looking for because there were

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no readily available resources, and I really
didn't know where to begin but eventually

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I realized that in order to learn about our
culture, I needed to do some deep genealogy

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work to find out exactly who my early ancestors
were and where they lived. When I traced my

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lineage back to the Village of Tucutnut in
lower Carmel Valley I finally had something

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I could work with. Here's my family tree from
myself to my dad to my grandma, my great grandma,

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then to her dad, his mom, her father, and
finally to my fifth great grandmother in the

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Rumsen village of Tucutnut in lower Carmel
Valley. So I think it's beautiful to see faces

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put faces to kind of this vague concept of

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ancestor. She was only the 32nd person to
be baptized at Mission San Carlos in Carmel,

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giving you an idea how early our families
were physically, socially, and culturally

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impacted by the Catholic church and Spanish
colonization. I think it was growing up knowing

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of my heritage but not the culture that led
to a burning desire to find what was lost

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and I've spent the past nearly 40 years working
on that, digging through far-flung ethnographic

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documents, some unpublished, and archaeological
reports learning ancient technologies, plants,

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and other natural resources they require,
then putting these technologies into practice.

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In the process I've had a few decades of up-close
and personal experiences with these plants,

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learning their ways throughout the seasons
and refining and expanding my skills and knowledge

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of ancient technologies, which have in turn
given me many insights into the lives of Rumsen

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people of the

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past. Well I was about 35 years old when a
random encounter with this poster printed

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by the Santa Cruz County Archaeological Society
got me started on my quest to find Ohlone

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baskets, which in turn allowed me to begin
making them myself. I had previously read

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what Anthropologist Alfred Crober had written
that all of our baskets had perished um that

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none remained in the world but this poster
contradicted that and taught me that there

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were indeed a few of our old baskets still
remaining, so I set out to find them and then

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to begin making them. Of course this happened
step by step over a long period of time. Since

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then I visited all but one of the baskets
Illustrated on this poster and many others.

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There are only about 20 or 25 thereabouts
oldtime Ohlone baskets remaining in the world

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and I've made 24 new ones which has basically
doubled that number and it all started with

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this

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poster. Which was a Santa Cruz thing so all
right. So in order to begin making baskets

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myself I needed to study some of these old
baskets to see how they were made of what

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materials and scrutinize a whole lot of technical
details. I visited a few of the old ones in

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distant museums studying counting stitches
measuring taking detailed photos learning

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everything I could from the baskets

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themselves. Some of the things I observed
I was then able to incorporate into my own

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baskets such as these little olivella shell
beads woven into the inside of the basket

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that was like the biggest mind-blowing thing
about visiting this Basket in Paris it's like

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oh there are little tiny olivella beads on
the inside and of course we had only ever

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seen photos of the outside of the basket and
when visiting the museum even though I had

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made advance arrangements and they knew I
was coming still there was a funny little

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glitch when we got there and they initially
were not going to take the basket out of its

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exhibit case. And it was mounted on a really
tall ... whatever in this museum and so I

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basically would be looking at it from here
up like so and I thought "wow this really

00:17:55.520 --> 00:18:00.800
isn't going to do anything for me" I could
see that much in the pictures that I had seen

00:18:00.800 --> 00:18:09.480
without going to France so I kind of pleaded
a little bit and they relented and opened

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the cases for a short while before they opened
to the public. That was when I had a chance

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to really look at these baskets up close and
it was such a treat to find these little olivella

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disc beads on the inside so I ended up putting
a few on the inside of a similar style basket

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that I made for the Oakland

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Museum and then basically just more looking

00:18:41.840 --> 00:18:46.680
scrutinizing and this at the British

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Museum. So I spent months and months searching
for the native plants I would need for weaving

00:18:56.320 --> 00:19:03.040
and eventually made this my first little basket
completed in 1994 roughly 10 years after I

00:19:03.040 --> 00:19:12.720
first saw that poster so it took a while to
you know get all the moving parts together.

00:19:12.720 --> 00:19:17.360
Anyway, it's made of Willow sedge, a black
pattern of bull rush root, and black quail

00:19:17.360 --> 00:19:22.840
top nut feathers. It is far from perfect but
was significant because I had finally made

00:19:22.840 --> 00:19:28.320
my first traditional basket and this was the
first Ohlone basket to be made in approximately

00:19:28.320 --> 00:19:42.120
150 years so it was significant like in a
in kind of a deep you know sort of way for

00:19:42.120 --> 00:19:46.760
me. Eventually I got really good at making
our baskets and added a new one every year

00:19:46.760 --> 00:19:53.360
or two in between raising a child working
and life's general needs, so these are some

00:19:53.360 --> 00:20:01.400
of these the fancy coiled baskets. This is
the same basket in the foreground of the previous

00:20:01.400 --> 00:20:08.680
slide for a different view. It's at the San
Francisco Presidio and you might want to pop

00:20:08.680 --> 00:20:14.360
into the Officer's Club Museum if you're at
Chrissy field for a walk or whatever sometime,

00:20:14.360 --> 00:20:20.480
it's in the Mesa room downstairs when you
first enter. Upstairs is a feather dance Cape

00:20:20.480 --> 00:20:27.480
feather headdress and an old style Ohlone
necklace I also made so want to check it out

00:20:27.480 --> 00:20:28.160
if you're nearby.

00:20:30.760 --> 00:20:36.280
In 2009, 15 years after completing that first
little basket, I found myself confronting

00:20:36.280 --> 00:20:42.360
the exciting but scary challenge of making
not one but two ceremonial baskets, patterned

00:20:42.360 --> 00:20:48.760
with feathers and olivella shell beads, a
type that hadn't been made in about 250 years.

00:20:48.760 --> 00:20:54.640
The pattern on the outer surface is a combination
of olivella disc beads, and chicken feathers

00:20:54.640 --> 00:21:02.360
that I dyed red to imitate the Acorn woodpecker
feathers that my ancestors used in the past.

00:21:02.360 --> 00:21:09.600
And by the way this basket is on display over
here so if you'd like to take a look. While

00:21:09.600 --> 00:21:14.800
very fancy remember that this basket came
from the land. I mean I realize that when

00:21:14.800 --> 00:21:20.000
you look at it it's got so many you know so
much bling on the outside that you could tend

00:21:20.000 --> 00:21:28.040
to forget that it actually you know the structure
of it is all made from three very humble plants.

00:21:31.960 --> 00:21:38.200
So it came from simple sticks and roots that
I had to cut and peel, I mean arm loads of

00:21:38.200 --> 00:21:43.560
willow sticks in order to find enough of the
same diameter, I had to dig for hours in the

00:21:43.560 --> 00:21:48.360
ground to find and excavate the long runners
that would become the fine weaving strands

00:21:48.360 --> 00:21:53.800
you see when you look at the rim and inside
of the basket. I also had to make all the

00:21:53.800 --> 00:22:00.440
little shell beads and I tuck each feather
carefully into the um stitches of the basket

00:22:00.440 --> 00:22:08.600
as I wove it, so it's not you don't get the
hot glue gun out you know after, it's got

00:22:08.600 --> 00:22:14.840
to be well planned because if you make a mistake
here and you find out after you've gone around

00:22:14.840 --> 00:22:22.960
you know one or two rows or even a half row,
you either have to leave the mistake in place

00:22:22.960 --> 00:22:29.000
or you have to take it all out and go back
and fix your error. That's a hard decision

00:22:29.000 --> 00:22:29.600
to make

00:22:29.600 --> 00:22:37.040
sometimes. About the same time I learned I
had been selected for the creative work fund

00:22:37.040 --> 00:22:42.560
grant, the Oakland Museum commissioned me
to make a similar basket it took three years

00:22:42.560 --> 00:22:48.960
to complete these two baskets working fairly
full-time and which I made concurrently. There

00:22:48.960 --> 00:22:54.040
were a number of technical details I had to
figure out and reverse engineer including

00:22:54.040 --> 00:22:59.240
the need to make more than 2,000 ollivella
beads and integrate them into the stitches

00:22:59.240 --> 00:23:04.080
of the baskets as I wove.

00:23:04.080 --> 00:23:07.320
In Ohlone basketry there&nbsp;
are two weaving techniques:&nbsp;

00:23:07.320 --> 00:23:11.600
coiling and twining. This is a coiled basket-

00:23:11.600 --> 00:23:16.400
round and round to go basically, wrapping
and stitching wrapping and stitching, so you

00:23:16.400 --> 00:23:24.120
poke a hole you push your slender little weaving
strand through hopefully you know you can

00:23:24.120 --> 00:23:30.160
manage to get it in there before the hole
closes up because all the material's very

00:23:30.160 --> 00:23:37.640
tightly packed so if you I think even in there
you can see there are no holes just sitting

00:23:37.640 --> 00:23:44.160
there waiting for a stitch to be pushed through
you have to muscle your way through and I

00:23:44.160 --> 00:23:50.960
have a crooked finger to prove I have a very
crooked finger to prove how how much strength

00:23:50.960 --> 00:23:57.880
you have to you know how much resistance there
is when you're trying to push that all through.

00:24:00.680 --> 00:24:05.920
At the British museum I was able to study
this example of a basketry ear ornament taking

00:24:05.920 --> 00:24:10.920
close-up photos that would help me make my
own set a few years later. Note the coiled

00:24:10.920 --> 00:24:16.960
basketry disc which was once covered with
feathers now gone because of insect damage

00:24:16.960 --> 00:24:18.360
which I assume were

00:24:18.360 --> 00:24:29.360
moths. And if you notice the tube the white
scrim shod piece um you can't see all of it

00:24:29.360 --> 00:24:38.040
but it's a bird bone and it's been incised
and then rubbed with you know something dark

00:24:38.040 --> 00:24:45.440
it's basically scrimshaw, and that's attached
I think you can see well, this you can in

00:24:45.440 --> 00:24:53.040
this slide you can see you know all of the
parts as I was in the process of making them

00:24:53.040 --> 00:25:01.320
and um you can see the bird bones there which
I incised with a very simple design because

00:25:01.320 --> 00:25:08.200
it took me a while of practicing. I used a
piece of a deer bone and I tried all kinds

00:25:08.200 --> 00:25:14.760
of different you know tools different knives
and this that and you know whatever I could

00:25:14.760 --> 00:25:22.080
think of and uh to see what I could control
and what tool would work well for doing the

00:25:22.080 --> 00:25:31.200
incising, but once I did find what tool worked
well for me, when it came time for putting

00:25:31.200 --> 00:25:43.800
some some dark matter down into the grooves
I ended up using I I ended up pulverizing

00:25:43.800 --> 00:25:59.840
some burnt redwood that was in of a cultural
site in Carmel Valley that was that burned

00:25:59.840 --> 00:26:05.760
in oh I should have uh tried to remember this
... I'm not thinking of which fire it was

00:26:05.760 --> 00:26:12.800
but anyway just a few you know years back,
anyway the site had burned and um I ended

00:26:12.800 --> 00:26:21.000
up pulverizing that, so it kind of had this
a lot of little meanings and so it's that

00:26:21.000 --> 00:26:27.040
pulverized charcoal from that cultural site
from a burn from redwood you know in my cultural

00:26:27.040 --> 00:26:33.600
area is what fills the little grooves.

00:26:33.600 --> 00:26:38.840
Imagine them being worn while dancing or while
entertaining special guests long ago. They

00:26:38.840 --> 00:26:47.360
actually rest over the ear with the scrimshaw
bird bone hanging behind the ear.

00:26:47.360 --> 00:26:54.600
Now I included this because it's a great picture
great photo it's the same basket that's here,

00:26:54.600 --> 00:26:59.280
but if you were to look at this basket oh
no I think no that was after I had to pull

00:26:59.280 --> 00:27:05.880
the feathers out, so laws basically forbid
us from harvesting plants we need to make

00:27:05.880 --> 00:27:11.560
baskets or boats regalia or traditional foods.
Laws forbid us from gathering feathers or

00:27:11.560 --> 00:27:17.720
shells from beaches and our own ancestral
homelands and before this particular basket

00:27:17.720 --> 00:27:24.280
could travel to Germany and I think it was
in 2019, I had to drive from Monterey to San

00:27:24.280 --> 00:27:32.400
Francisco at the last minute to pull out these
32 little Redwing Blackbird feathers so that

00:27:32.400 --> 00:27:41.320
the basket could pass through customs. And
I had declared those to the person who was

00:27:42.200 --> 00:27:50.880
doing all the administrative work for this
art shippers and she when she looked it up

00:27:50.880 --> 00:27:59.920
misread the lines of information, so when
she got to the red wing blackbird she act

00:27:59.920 --> 00:28:10.480
actually transposed something and saw a different
the the law on on a different line for you

00:28:10.480 --> 00:28:15.200
know referencing a different feather, and
so she said no problem and I said really and

00:28:15.200 --> 00:28:22.440
she said no problem we just need to declare
it, but when it was about ready to go through

00:28:22.440 --> 00:28:28.280
she found out that well she said I guess we're
going to not be able to send this basket and

00:28:28.280 --> 00:28:35.600
I said well I don't think that's really acceptable
because it's already in their catalog, so

00:28:35.600 --> 00:28:42.200
I said I'll just come to San Francisco and
pluck them out.

00:28:42.200 --> 00:28:43.440
So now on to twined

00:28:43.440 --> 00:28:50.920
weaving. When we move from coiled baskets
to Twining technique which often applies to

00:28:50.920 --> 00:28:57.400
utilitarian work baskets such as this washing,
seed roasting, winnowing, and gathering basket.

00:28:58.000 --> 00:29:02.480
In this closeup you can see how the weaving
material passes over and under the foundation

00:29:02.480 --> 00:29:07.640
rods but what you can't see is they always
work in pairs and what you can see if you

00:29:07.640 --> 00:29:14.200
look carefully are seeds caught in the weave
as well as a hair likely from the weaver,

00:29:14.200 --> 00:29:19.160
and I think I know who wove it, that was caught
in the weave as it was being made I've learned

00:29:19.160 --> 00:29:23.520
from experience this happens frequently.

00:29:23.520 --> 00:29:27.320
Anyway here I am making my first warSin.

00:29:29.800 --> 00:29:34.760
And now on to the inspiration for a different
basket. So years ago this stone mortar was

00:29:34.760 --> 00:29:40.000
given to me and I was immediately excited
by this heavy ring of tar or also known as

00:29:40.000 --> 00:29:47.720
asphaltum, because to me this was clear evidence
that my Rumsen people had a hopper basket,

00:29:47.720 --> 00:29:52.400
which I'll soon explain. I vowed I would one
day make a basket to sit on top of the mortar

00:29:52.400 --> 00:29:59.680
again as one had done so many years before,
held into place by this thick ring of tar.

00:29:59.680 --> 00:30:05.920
Later during my work with our language I found
the name for this basket "pechump tiprin"

00:30:05.920 --> 00:30:12.880
which actually translates "stuck-on basket."
The purpose of this bottomless basket is to

00:30:12.880 --> 00:30:15.920
create a deep bowl from a&nbsp;
shallow mortar depression&nbsp;

00:30:15.920 --> 00:30:18.440
so that acorn fragments hit the walls and

00:30:18.440 --> 00:30:25.080
fall back into the bowl when they're pounded.
A few years later I kept my promise and made

00:30:25.080 --> 00:30:30.600
my first pechump tiprin, and then I made two
others: one for the de Saisset Museum on Santa

00:30:30.600 --> 00:30:36.320
Clara University campus and the other for
the Sanchez Adobe Interpretive Center in Pacifica.

00:30:36.320 --> 00:30:40.880
The foundation rods are willow, the light
colored weaving material is sedge rhizome,

00:30:40.880 --> 00:30:45.960
and the dark pattern is bracken fern rhizome.

00:30:45.960 --> 00:30:50.520
So here's the completed basket sitting on
the mortar from Tucutnut so you can see how

00:30:50.520 --> 00:30:56.360
it was used. In this case the mortar was my
inspiration to figure out how to make this

00:30:56.360 --> 00:31:02.000
bottomless basket since none had survived
for me to use as a model. This hopper mortar

00:31:02.000 --> 00:31:07.480
serves as an example of the connections we
still have to the past and how cultural objects

00:31:07.480 --> 00:31:15.440
can Inspire us and live again by actually
being used by us. When trying to decide how

00:31:15.440 --> 00:31:20.040
to make the pechump tiprin, or hopper basket,
I decided to make it with the same weaving

00:31:20.040 --> 00:31:25.720
techniques as our warSin or seed roasting
basket. Here's a warSin in the process of

00:31:25.720 --> 00:31:31.960
being woven, and I was hoping you would notice
the diamond patterns they're made not with

00:31:31.960 --> 00:31:37.920
a dark weaving material but just by slightly
varying the actual stitches, which causes

00:31:37.920 --> 00:31:46.520
the light to reflect differently off of the
material, thereby allowing us to see the pattern.

00:31:46.520 --> 00:31:53.400
Just so cool. Here's that same warSin in its
finished form, now I've made several of these

00:31:53.400 --> 00:31:58.480
of different sizes learning a little more
about the dynamics of shaping the basket each

00:31:58.480 --> 00:32:05.200
time. This one was commissioned by the Santa
Barbara Museum of Natural History.

00:32:05.200 --> 00:32:11.640
At left in this side is another work basket
I made called a shewin or carrying basket.

00:32:11.640 --> 00:32:17.560
It's also made with subtle weaving patterns
has special reinforcing willow rods incorporating

00:32:17.560 --> 00:32:25.000
incorporated into the stitches on the exterior,
so you can kind of see those kind of protruding

00:32:25.000 --> 00:32:30.120
wrap sticks. These reinforcing rods give extra
strength to a basket that needs to be sturdy

00:32:30.120 --> 00:32:33.360
for the job it does. These are used by myself&nbsp;

00:32:33.360 --> 00:32:36.120
and relatives and friends&nbsp;
when we gather traditional

00:32:36.120 --> 00:32:42.440
foods such as these manzanita berries. So
here I was gathering manzanita berries with

00:32:42.440 --> 00:32:49.200
cousins Violet, Linda, and Cindy, and it strikes
me every now and then looking at these photos

00:32:49.200 --> 00:32:53.920
because we were using them so casually people
putting them on the ground and walking away

00:32:53.920 --> 00:33:03.120
someone left one way down the trail and like
wait a minute don't leave it down there. But

00:33:03.120 --> 00:33:08.720
you know where once we didn't even know what
our baskets look like now we can casually

00:33:08.720 --> 00:33:15.720
use these baskets you know the way they were
once used by our Ohlone ancestors so that's

00:33:15.720 --> 00:33:21.720
a big switch. Traditional old style baskets
don't just magically happen, they require

00:33:21.720 --> 00:33:29.600
a lot of knowledge, skill, patience, and a
lot of work. Sedge rhizomes must be excavated

00:33:29.600 --> 00:33:34.760
from the earth, split, and peeled, cleaned,
dried, then carefully prepared for the weaving

00:33:34.760 --> 00:33:41.400
itself. In this drone shot you can see me
digging sedge runners in a massive bed of

00:33:41.400 --> 00:33:46.400
sedge growing on a sandy south bank of the
Carmel River, probably the last of its kind

00:33:46.400 --> 00:33:53.960
in the area, which is a concern. But just
to give you an idea of the labor intensive

00:33:53.960 --> 00:34:00.240
processes involved, yeah you know I kind of
spelled them out here: you split the runners,

00:34:00.240 --> 00:34:05.520
you peel the bark off, you have to let them
dry for at least 6 months or so, then you

00:34:05.520 --> 00:34:13.640
have to split them again, and scrape and clean
everything before you can use it. And now,

00:34:13.640 --> 00:34:19.440
I just kind of wanted to show another very
important plant willow. Actually this particular

00:34:19.440 --> 00:34:25.720
species of willow. So here I am cutting winter
willow sticks with Mutsen Ohlone friend Vera

00:34:25.720 --> 00:34:31.200
Powers, and when harvested in winter there
are no leaves or bark to peel as a sap is

00:34:31.200 --> 00:34:36.240
dropped into the ground and the bark adheres
to the wood. These are most often used to

00:34:36.240 --> 00:34:42.120
make open work twined work baskets.

00:34:42.120 --> 00:34:47.240
Here I have an arm load of Sandbar Willow,
salix exigua, the species needed to make our

00:34:47.240 --> 00:34:52.720
baskets and only straight shoots will work,
so it's not necessarily easy to find what

00:34:52.720 --> 00:34:58.240
we need. Finding a good source of quality
willows of the right species and within a

00:34:58.240 --> 00:35:04.240
reasonable distance from home is a problem.
Each of those sticks in my arm had to be stripped

00:35:04.240 --> 00:35:09.640
of the bark, then dried for several months.

00:35:09.640 --> 00:35:13.720
As you can see there's a tremendous amount
of time and labor involved just to harvest

00:35:13.720 --> 00:35:22.400
and process the materials before the also
labor intensive weaving can ever begin. And,

00:35:22.400 --> 00:35:31.960
I might add, I actually never have time to
do any of this, I have to do it anyway. So

00:35:33.280 --> 00:35:38.720
let me see where we are, kind of like to move
away from baskets to just a few other little

00:35:38.720 --> 00:35:43.920
personal cultural passions starting with making
string or cordage from local native plants,

00:35:43.920 --> 00:35:50.840
this one dogbane also known as Indian hemp.
Dogbane string, many people don't realize

00:35:50.840 --> 00:35:56.840
is a really important like California Indian
cultural icon. In this photo you can see a

00:35:56.840 --> 00:36:06.040
few ends of the dry stalks there above my
right hand harvested in winter. Also some

00:36:06.040 --> 00:36:13.720
extracted fiber up in the upper right hand
corner and also there's a length of two ply

00:36:14.720 --> 00:36:20.480
string in the process of being twisted. Anyway
so at left of my hand is one example of how

00:36:20.480 --> 00:36:26.320
cordage was used in the past in this case
for tying two bird bone whistles together

00:36:26.320 --> 00:36:34.760
and then you end up having, I'll show you
in the next slide, this kind of double two-toned

00:36:34.760 --> 00:36:43.640
whistle that's used in certain dances. And
so speaking of dances brings me to another

00:36:43.640 --> 00:36:51.600
current focus of mine, kind of my one of my
most recent passions, and that is making dance

00:36:51.600 --> 00:36:58.080
regalia. Something I've been doing for many
years but basically more just personally,

00:36:58.080 --> 00:37:05.200
but in recent months I started working with
a small group of Rumsen women to start a dance

00:37:05.200 --> 00:37:12.440
group, and so I've been helping them make
regalia and making some pieces, regalia pieces,

00:37:12.440 --> 00:37:20.200
for them because I was really pushing for
us to be ready to dance together for the very

00:37:20.200 --> 00:37:26.600
first time at a Rumsen reunion that we had
I think it was just about 3 weeks ago in Monterey.

00:37:28.120 --> 00:37:40.760
So we made it I had to pull quite a number
of rabbits out of a hat, but I was really

00:37:40.760 --> 00:37:51.720
struck as we were all coming out from backstage.
This was at the JACL hall where Tim has created

00:37:51.720 --> 00:38:00.920
a really beautiful Heritage Museum and I kind
of turned around for a moment we were all

00:38:00.920 --> 00:38:05.480
walking down these little stairs and there
was no other place for us to dance except

00:38:05.480 --> 00:38:12.360
the stage that's why we were on a stage but
and I just couldn't believe it looking back

00:38:12.360 --> 00:38:18.880
they were all coming down the stairs, and
we have so much more still to do to complete

00:38:18.880 --> 00:38:27.240
our regalia and for me to reconstruct some
more of our dances, but to see the group of

00:38:27.240 --> 00:38:40.760
ladies all dressed out was um really so striking
and and beautiful to me.

00:38:40.760 --> 00:38:44.960
So on the in the display over here on the&nbsp;

00:38:44.960 --> 00:38:50.280
side, I brought one of these&nbsp;
jay feather headdresses,

00:38:50.280 --> 00:38:56.680
and the color is so striking but it all just
depends on the light of the moment, because

00:38:56.680 --> 00:39:04.960
I learned that blue color and and green in
feathers comes not from pigmentation, but

00:39:04.960 --> 00:39:13.200
is strictly structural, and so the blue color
is not there unless there's light bouncing

00:39:13.200 --> 00:39:21.680
off a certain way, and it's just this effect
of the structure and the light interacting

00:39:21.680 --> 00:39:31.000
that allows us to see this most intense, most
beautiful blue color, which um one of our

00:39:31.000 --> 00:39:38.640
littlest dancers was wearing. Anyway so I
really invite you to take a look at it before

00:39:38.640 --> 00:39:49.680
you leave this evening. Anyway so move along...So
a very special regalia piece I'm preparing

00:39:49.680 --> 00:39:56.040
to make is a band of red shafted flicker quills
similar to the one shown here. Mine's going

00:39:56.040 --> 00:40:00.800
to end end up being a little bit different
because um you know those require a whole

00:40:00.800 --> 00:40:06.840
lot of tail feathers which I don't have as
many, but there are many variations of wing

00:40:06.840 --> 00:40:13.920
feathers, tail feathers, etc etc and the really
great thing is that they're actually so far

00:40:13.920 --> 00:40:26.040
I'm aware of three flicker quill headbands
that came from Ohlone territory. So since

00:40:26.040 --> 00:40:35.000
we have so few cultural things that survived
the the years, but in this case it so happens

00:40:35.000 --> 00:40:41.600
that there are three that were purchased two
in the East Bay and one in San Francisco so

00:40:41.600 --> 00:40:47.600
I will use them to kind of be my inspiration
and guides but I'm not going to be trying

00:40:47.600 --> 00:40:54.440
to duplicate them or replicate them. And then
in this drawing that I did kind of gives you

00:40:54.440 --> 00:40:56.320
an idea of how it's worn.

00:41:00.880 --> 00:41:04.520
As I get close to the end of what I'm going
to share with you tonight I didn't want to

00:41:04.520 --> 00:41:09.480
leave out the making of beautiful Tule canoes.
Now I personally wouldn't actually want to

00:41:09.480 --> 00:41:16.600
cross the bay in one, not me, but I've loved
paddling on still water in lakes or lagoons,

00:41:16.600 --> 00:41:21.800
marsh or protected harbor. It's really really
wonderful to paddle and beautiful to see the

00:41:21.800 --> 00:41:31.120
world around you from inside the boat just
ask Sandy Lyden. Though I won't mention how

00:41:31.120 --> 00:41:37.400
the Tule boat he was in rolled over and dumped
him into the Carmel River

00:41:37.400 --> 00:41:47.200
I won't mention [Laughter] That was a great
day, well the one before when you didn't dip

00:41:47.200 --> 00:41:57.200
in the water was better, but your your students
enjoyed the the tip yeah. So here's a Tule

00:41:57.200 --> 00:42:02.140
boat I made for the de Saisset Museum at Santa
Clara University there's also one at Palo

00:42:02.140 --> 00:42:07.360
Carona Regional Parks Discovery Center and
Lower Carmel Valley and another on intermittent

00:42:07.360 --> 00:42:12.760
display outdoors at the Monterey Bay Aquarium
so if you ever want to see one in person,

00:42:12.760 --> 00:42:18.280
those are three that are kind of in our area.

00:42:18.280 --> 00:42:25.640
So in closing I'm delighted to be teaching
Ohlone basketry to Violet Smith, also of Seaside

00:42:25.640 --> 00:42:35.000
also Rumsen, who's a quick learner and is
working on her first basket, so well I'm probably

00:42:35.000 --> 00:42:42.120
going to say what you can already read, but
at age 74 I've really been feeling concerned

00:42:42.120 --> 00:42:50.720
because the people I've taught in the past
you know unfortunately one passed away and

00:42:50.720 --> 00:42:56.320
other people for various reasons you know
did it for a little while one person said

00:42:56.320 --> 00:43:02.200
well I discovered I don't have the patience,
and other people you know various reasons,

00:43:02.200 --> 00:43:10.800
work, children whatever whatever, distance
did it for a while and didn't continue. So

00:43:11.720 --> 00:43:17.600
you know Violet and I applied&nbsp;
to this apprenticeship&nbsp;

00:43:17.600 --> 00:43:20.760
program and we were selected for it, and we're

00:43:20.760 --> 00:43:28.600
working together now for a few months. She's
doing beautifully and I feel so much better

00:43:28.600 --> 00:43:34.760
knowing that at least through this one person
and hopefully others who all be working with

00:43:34.760 --> 00:43:44.720
as well that it's going to carry on after
I'm gone. So always alive is what that means

00:43:44.720 --> 00:43:50.680
yes that's the idea it's the purpose for this
work that Ohlone basketry and other cultural

00:43:50.680 --> 00:43:57.040
practices will live on into the future. In
some ways there's a parallel culture cultural

00:43:57.040 --> 00:44:04.960
universe I kind of think of it that's going
on, and it seems like the average person isn't

00:44:04.960 --> 00:44:12.680
really aware that it exists, but with simple
roots and shoots as just one example, and

00:44:12.680 --> 00:44:17.880
knowledge gleaned from our ancestors we can
keep some of the beauty of the past alive

00:44:17.880 --> 00:44:25.200
for the benefit of us all not only for now
but hopefully into the future as well. And

00:44:25.200 --> 00:44:39.760
that's all for now shuururu which means thank
you and blessings.

00:44:39.760 --> 00:44:44.360
Okay thank you Linda that was beautiful thank
you for sharing that with us tonight. As Ariel

00:44:44.360 --> 00:44:49.360
gets the next presentation ready I'm going
to introduce Tim, and I just want to start

00:44:49.360 --> 00:44:54.800
with, I've had the fortune of working with
Tim over the years and also my colleague Robert

00:44:54.800 --> 00:44:59.680
Schwemmer who's the West Coast Maritime Heritage
Cultural Coordinator. He couldn't be here

00:44:59.680 --> 00:45:02.440
tonight he's in Southern California, but he
sent me some words I just want to share with

00:45:02.440 --> 00:45:07.000
you Tim and the group: "I've known and worked
with Tim Thomas for decades. He's a walking

00:45:07.000 --> 00:45:11.640
encyclopedia of all things related to Monterey's
rich history and I'm proud to call him my

00:45:11.640 --> 00:45:16.680
friend. We have worked together sharing research
on Maritime exhibits at the former Maritime

00:45:16.680 --> 00:45:19.520
Museum of Monterey. The&nbsp;
most exciting collaborative&nbsp;

00:45:19.520 --> 00:45:21.200
experience working with Tim was when he joined

00:45:21.200 --> 00:45:25.360
the science team aboard the Monterey Bay Aquarium
Research Institute's research vessel the Wester

00:45:25.360 --> 00:45:31.560
Flyer during Noah's first archaeological survey
of the dirigible ship USS Macon lost off Point

00:45:31.560 --> 00:45:37.040
Sur in 1935. (I was lucky to be on that ship
too) Us seeing it for the first time through

00:45:37.040 --> 00:45:42.080
the ROV's eyes. So congratulations Tim for
receiving this award it's well deserved. Your

00:45:42.080 --> 00:45:52.280
friend, Bob Schwemmer. So Tim's gonna speak
tonight about the early collection of white

00:45:52.280 --> 00:45:58.320
abalone by the young Japanese American abalone
diver Roy Hattori and the unresolved history

00:45:58.320 --> 00:46:06.800
of its scientific name.

00:46:06.800 --> 00:46:13.960
Thank you, thank you all. This is really an
honor for me to be here tonight and I have

00:46:13.960 --> 00:46:19.600
to say it's always a tough act to follow Linda,
and so it's always difficult for me but here

00:46:19.600 --> 00:46:26.080
we are. Yes I'd like to point out we are from
the other side of the bay greetings from Monterey

00:46:26.080 --> 00:46:31.920
I love this particular postcard from the 1930's,
just says a lot to me but we're going to,

00:46:31.920 --> 00:46:38.600
hope I can do this correct which button do
I push I got the right one, so but first how

00:46:38.600 --> 00:46:44.120
I got here. So I've been researching history
Monterey Bay the fisheries in particular of

00:46:44.120 --> 00:46:50.520
Monterey Bay for about 35 years or so and,
I started here. So I know you guys can all

00:46:50.520 --> 00:46:55.040
deal with this you're all adults in the room-
Ed Ricketts was not the only Marine Biologist

00:46:55.040 --> 00:47:00.400
on Cannery Row, nor was even the most important
marine biologist on Cannery Row. These guys

00:47:00.400 --> 00:47:04.880
were, right here. These are the scientists
from the, and biologists from the Cal from

00:47:04.880 --> 00:47:10.600
the California Department of Fish and Game
in 1929. The woman standing here that is Francis

00:47:10.600 --> 00:47:15.840
Clark. Francis Clark was a woman way ahead
of her time. She was the first person within

00:47:15.840 --> 00:47:20.640
Fish and Game to receive a PhD which she actually
got in 1925, and so they weren't sure what

00:47:20.640 --> 00:47:26.320
to do her at that time they said well uh let's
make her the librarian, where actually took

00:47:26.320 --> 00:47:30.480
a series of books that sat on a man's desk
and built one of the premier fisheries libraries

00:47:30.480 --> 00:47:36.200
in the world it's actually now here in the
Monterey/ Santa Cruz area. Then there's W.L.

00:47:36.200 --> 00:47:41.320
Scofield next to her, and Scofield was one
of three brothers who all worked for California

00:47:41.320 --> 00:47:45.920
Department of Fish and Game, were all biologists.
The older brother, N.B. Scofield, actually

00:47:45.920 --> 00:47:51.040
was head of the Marine Division. Richard Croker
in the middle, M.J. Linder, and then the guy

00:47:51.040 --> 00:47:55.760
on the end is a guy named J.B. Phillips, and
when I first started doing this research I

00:47:55.760 --> 00:48:00.240
used a lot of the reports the Fish and Game
folks would write, I had were writing about

00:48:00.240 --> 00:48:04.800
the Fisheries of Monterey. Fish and Game had
a different life in those days their whole

00:48:04.800 --> 00:48:09.920
function in life really was to sort of support
the fishermen, and Julie Phillips went to

00:48:09.920 --> 00:48:15.400
work for Fish and Game right out the college
in 1929. In fact, I had a copy of the letter

00:48:15.400 --> 00:48:21.520
that offered the job it said that "the cannery
is opening soon, you need to come to Monterey,"

00:48:21.520 --> 00:48:25.960
and they opened their offices initially in
1919 at Hopkins Marine Station so could be

00:48:25.960 --> 00:48:30.000
close to the canneries. That's why they came
here so they could monitor that sardine fishery

00:48:30.000 --> 00:48:34.440
here in Monterey. They would actually go into
the canneries every every day and they would

00:48:34.440 --> 00:48:38.800
meet the fisherman and they would keep what
they called interview cards and they would

00:48:38.800 --> 00:48:42.600
ask the fisherman where they caught their
fish, how much they were catching, then they

00:48:42.600 --> 00:48:46.520
would take samples of these sardines back
to their office at Hopkins in their lab there

00:48:46.520 --> 00:48:50.680
where they would weigh them, measure, them
sex, and then, this is the best part, they

00:48:50.680 --> 00:48:53.880
put them back in buckets and brought them
back to the canneries and gave them back so

00:48:53.880 --> 00:48:59.880
they wouldn't lose any catch right there.
So Julie Phillips went to work there in 1929

00:48:59.880 --> 00:49:05.080
and he actually spent his entire career in
Monterey and the office at Hopkins Marine

00:49:05.080 --> 00:49:09.120
Station. In fact Fish and Game of course grew
over the years in the Monterey area but they

00:49:09.120 --> 00:49:16.680
kept that office open just for Julie until
he retired about 1972. And when he retired

00:49:16.680 --> 00:49:22.560
he packed up everything that was in that office
and took it home and put it in his garage.

00:49:22.560 --> 00:49:28.920
And he passed away and then I got in touch
with his son Don Phillips and and Don said,

00:49:28.920 --> 00:49:32.600
"yeah we're going through all this stuff at
the house and we're not sure what it all is

00:49:32.600 --> 00:49:35.840
could you come over and take a look at it?"
and I went over there and there's all these

00:49:35.840 --> 00:49:38.040
boxes of stuff and they said all we know about&nbsp;

00:49:38.040 --> 00:49:42.960
Dad was that Dad worked&nbsp;
for the State of California

00:49:42.960 --> 00:49:47.720
had something to do with fish that's all they
knew. But there was all these papers, notes,

00:49:47.720 --> 00:49:52.560
all of these handwritten notes, all of everything
in uh that he had done all that period of

00:49:52.560 --> 00:49:58.960
time working at Fish and Game. And then there
was a box, a file box, of photographs, about

00:49:58.960 --> 00:50:05.480
500 photographs and their negatives and on
the back of every single photograph was the

00:50:05.480 --> 00:50:12.160
who, what, where, why, and how. I mean it
was an amazing thing, right? And there were

00:50:12.160 --> 00:50:16.480
things in these pictures that we had never
seen before, things we'd only heard about,

00:50:16.480 --> 00:50:22.000
and so I wanted to show you a photograph of
one of the back of those images but I didn't

00:50:22.000 --> 00:50:26.720
have a chance to get to that today unfortunately,
but I can tell you that now lives at the Monterey

00:50:26.720 --> 00:50:31.920
Library, and you all have a chance to go see
it right there. So and by the way many of

00:50:31.920 --> 00:50:36.080
the pictures you're going to see tonight were
taken by Julie Phillips. So, "What's up Doc?"

00:50:36.080 --> 00:50:40.560
Of course you can see Ed Ricketts on the side
here and then that's my friend Julie Phillips

00:50:40.560 --> 00:50:44.280
on the other one. Now this was taken in the
1930s at a time when they're catching a lot

00:50:44.280 --> 00:50:49.600
of Humboldt squid in the Monterey Bay. Those
are not the same two Humboldt squid uh that

00:50:49.600 --> 00:50:54.160
was taken where J.B. Phillips was taken that
was taken at Hopkins Marine Station, this

00:50:54.160 --> 00:50:59.800
of course was Ed's lab, but I've been there's
been a debate about Doc Ricketts the debate

00:50:59.800 --> 00:51:03.720
being when was he really called Doc Ricketts
and those who say well it was John Steinbeck

00:51:03.720 --> 00:51:08.200
called him Doc Ricketts before that no one
ever called him Doc Ricketts before that.

00:51:08.200 --> 00:51:13.040
Well I found out that's really actually not
correct because what I found and I was talked

00:51:13.040 --> 00:51:17.820
to a lot of folks who used to work on Cannery
Row and it turns out every scientist on Cannery

00:51:17.820 --> 00:51:24.000
Row was referred to as "Doc." Like I know
Julie Phillips who spent a lot time on Cannery

00:51:24.000 --> 00:51:28.760
Row and he didn't have PhD but I I talked
to some guy who worked for the Del Mary County

00:51:28.760 --> 00:51:32.520
once he said said, "did you know Julie Phillips
from Fish and Game" he said, "oh you mean

00:51:32.520 --> 00:51:38.160
Doc Phillips? oh yeah Doc Phillips." So everybody
was called "doc" right there. He didn't like

00:51:38.160 --> 00:51:44.640
being called doc either as Ed Ricketts didn't.
But Julie was famous this this particularly

00:51:44.640 --> 00:51:50.200
famous for rock fishes this is a very, those
folks who study rock fishes this is still

00:51:50.200 --> 00:51:55.320
considered one of the best publications about
California rock fishes that exist today this

00:51:55.320 --> 00:52:00.640
was done in 1957. Actually within the collection
of stuff we have, we have all of Julie's notes

00:52:00.640 --> 00:52:06.360
for this particular report that went out,
we have all those notes. We also have an amended

00:52:06.360 --> 00:52:12.840
addition of this that he actually did as well.
They also even named a rockfish after Julie

00:52:12.840 --> 00:52:13.480
Phillips there

00:52:17.720 --> 00:52:24.720
But first let me get to the story. But I need
a little history first. This abalone, and

00:52:24.720 --> 00:52:28.280
I going to say this right up front, abalone,
and I've been researching the abalone fishery

00:52:28.280 --> 00:52:33.280
now in Monterey Bay for close to 20 years,
and I believe the abalone fishery in California

00:52:33.280 --> 00:52:35.640
in Monterey is probably the most important&nbsp;

00:52:35.640 --> 00:52:39.240
fishery in all California.&nbsp;
It may not be economically,

00:52:39.240 --> 00:52:44.640
but it definitely is historically, and it
definitely is culturally. And one thing Linda

00:52:44.640 --> 00:52:50.720
didn't mention in her talk was that the first
abalone divers in Monterey were Linda's ancestors,

00:52:50.720 --> 00:52:55.480
the Rumsen people. They were diving in abalone.
Monterey was the abalone capital of the world,

00:52:55.480 --> 00:52:59.720
and we know that because of burials that come
out of the ground in recent years, and you

00:52:59.720 --> 00:53:03.280
really cannot build a house along the Monterey
waterfront without running across a Rumsen

00:53:03.280 --> 00:53:08.800
burial or two. The males have what's known
as surfer's ear, which that little bony growth

00:53:08.800 --> 00:53:12.680
over to the ear from spending a lot of time
in the cold water like the Monterey Bay, right?

00:53:12.680 --> 00:53:16.632
Which makes a lot of sense. When you see an
abalone the size of a hubcap, you're going

00:53:16.632 --> 00:53:21.560
to dive down there and get it, right? So and
abalone was very important: they ate, it they

00:53:21.560 --> 00:53:27.520
used the shells as you see to decorate baskets,
to make jewelry, and they traded it to other

00:53:27.520 --> 00:53:31.160
California Indians things they could not get
through a Monterey like obsidian which is

00:53:31.160 --> 00:53:36.200
a volcanic rock. And perhaps some of you have
seen that old Kevin Costner movie called Dancing

00:53:36.200 --> 00:53:40.440
with Wolves? Anybody remember that movie?
yeah yeah yeah That is about Indians in South

00:53:40.440 --> 00:53:45.640
Dakota. If you watch that film closely, and
it comes on cable TV all the time, if you

00:53:45.640 --> 00:53:49.640
watch it closely you'll notice there's a lot
of abalone in the clothing and the regalia

00:53:49.640 --> 00:53:54.360
that they're wearing. Well as far as I know
there is no abalone in South Dakota, it's

00:53:54.360 --> 00:53:59.080
got to get there some way it's going on those
trade routes. A lot it, most of it actually,

00:53:59.080 --> 00:54:07.880
starts right here in or in Monterey. So oh
I'm backing up so I'm sorry .. Again a little

00:54:07.880 --> 00:54:12.080
history I won't spend a lot of time on this
otherwise you will never get done here tonight

00:54:12.080 --> 00:54:18.600
but but Japanese abalone divers arrived in
Monterey around 1895/ 1896. Actually a guy

00:54:18.600 --> 00:54:23.760
by the name Otosaburo Noda who got a job working
for the then land arm of the Southern Pacific

00:54:23.760 --> 00:54:27.920
Railroad of the Pacific Improvement Company
which just this gigantic conglomerate and

00:54:27.920 --> 00:54:31.840
they just purchased about 8,000 Acres of the
Monterey Peninsula because they had this kind

00:54:31.840 --> 00:54:36.560
of quirky idea they could turn Monterey into
a tourist paradise right who thinks such a

00:54:36.560 --> 00:54:42.920
thing? So Noda was hired as kind of a labor
contractor and he was bringing other Japanese

00:54:42.920 --> 00:54:48.240
workers to clear land, and he was supplying
to these workers he was supplying food and

00:54:48.240 --> 00:54:52.880
water and wood for their fires. He was working
on a tree one day near the Monterey Wharf,

00:54:52.880 --> 00:54:56.560
he looked down into the harbor and he just
saw all this abalone down there. In fact,

00:54:56.560 --> 00:55:02.840
so much abalone he actually described it in
a letter as being a carpet of abalone, and

00:55:02.840 --> 00:55:06.480
nobody doing anything with it. And the reason
nobody in Monterey was doing anything with

00:55:06.480 --> 00:55:11.520
it because nobody knew. I mean what are the
heck are you supposed to do with it? You know

00:55:11.520 --> 00:55:16.200
unless you're preparing abalone properly it
is kind of like eating a rubber boot. The

00:55:16.200 --> 00:55:19.680
Japanese who had been dealing with abalone
for centuries they knew exactly what to do

00:55:19.680 --> 00:55:23.960
with it so Nodasan writes back to government
of Japan said "Hey! They got all this abalone

00:55:23.960 --> 00:55:28.720
here that nobody wants" the government of
Japan sent a guy by named Gennosuke Kodani,

00:55:28.720 --> 00:55:33.320
who was in the abalone business in the Chiba
Prefecture in Japan. He comes over goes "oh

00:55:33.320 --> 00:55:38.360
this is great! Not only is there a lot of
abalone, these abalone are big." He sent back

00:55:38.360 --> 00:55:43.040
to Japan for abalone divers. Those first divers
that came were known as ama. There were three

00:55:43.040 --> 00:55:49.160
of them that arrived here in the fall of 1897.
We know who they were we, both Sandy and I,

00:55:49.160 --> 00:55:54.080
we have seen their passports, and they began
to dive for abalone in Monterey Bay. If you

00:55:54.080 --> 00:55:58.760
know anything about ama diving, a traditional
just little white cotton outfit, a pair of

00:55:58.760 --> 00:56:02.160
goggles which actually had pig bladders on
the end they would squeeze to help release

00:56:02.160 --> 00:56:07.240
the pressure. By the turn of the 20th century
they moved into the helmet gear primarily

00:56:07.240 --> 00:56:14.200
because it was just much more proficient than
than on the divers, so with the helmet gear

00:56:14.200 --> 00:56:19.040
they're bringing in helmet divers and of course
as you can see in this photograph they were

00:56:19.040 --> 00:56:23.360
the wool underwear. There actually was a dive
company which still exists dive company in

00:56:23.360 --> 00:56:28.880
Tokyo that was producing this dive underwear
strictly for the divers in Monterey, right.

00:56:28.880 --> 00:56:33.280
So they would put that on, they put on a heavy
canvas suit, about 65 pounds of the lead weight

00:56:33.280 --> 00:56:35.880
to the front and back that led to the shoes,
bolt

00:56:35.880 --> 00:56:38.400
on the helmet of course has a hose attached

00:56:38.400 --> 00:56:42.360
to it and go into the Monterey Bay. In the
early days there was hand pumped air down

00:56:42.360 --> 00:56:46.320
to the diver. He's going down 40, 50 feet
sometimes

00:56:46.320 --> 00:56:49.960
in the Monterey Bay, but the deeper they went

00:56:49.960 --> 00:56:55.440
the harder it was to pump. Then the 1920s they
put air compressors on the boat and and now

00:56:55.440 --> 00:56:57.680
they're pushing the air down with a motor
so

00:56:57.680 --> 00:57:01.840
now that diver is going 40, 50, 60, 80, even
up

00:57:01.840 --> 00:57:04.720
to 100 feet into the Monterey Bay, but at
that

00:57:04.720 --> 00:57:07.360
level you can't stay down there very long

00:57:07.360 --> 00:57:11.600
and you and you can't see anything so they're
on their hands and knees crawling around and

00:57:11.600 --> 00:57:11.760
they

00:57:11.760 --> 00:57:16.360
have to work their way up very slowly to this
30 foot level and be down there all day collecting

00:57:16.360 --> 00:57:20.920
abalone. So initially the Japanese are drawing
all that abalone and they're shipping it back

00:57:20.920 --> 00:57:25.780
to Japan, they're also shipping it to China,
and they're also shipping it to Hawai'i and

00:57:25.780 --> 00:57:26.200
Australia

00:57:26.200 --> 00:57:31.600
where there was a large Japanese Chinese community
that lived there that would buy it. And then

00:57:31.600 --> 00:57:37.920
in 1907 a German restaurant tour by the
Pop Ernest opened a small restaurant on Alvarado

00:57:37.920 --> 00:57:40.880
Street and he would serve&nbsp;
oysters in his restaurant.&nbsp;

00:57:40.880 --> 00:57:43.040
Oysters were a very popular thing at that

00:57:43.040 --> 00:57:48.160
time, and he would get his oysters not from
Monterey Bay but from San Francisco, they'd come

00:57:48.160 --> 00:57:53.080
by train, and if you know about trains, trains
have tendency to break down, there'll be a cow

00:57:53.080 --> 00:57:55.280
on the track or something will happen, and&nbsp;

00:57:55.280 --> 00:57:57.920
of course oysters, like&nbsp;
any shellfish, any seafood,

00:57:57.920 --> 00:58:00.280
won't stay fresh very long. So often times&nbsp;

00:58:00.280 --> 00:58:02.440
he would ride to the train&nbsp;
station and already to pick

00:58:02.440 --> 00:58:05.160
up his order of oysters and they would be spoiled.&nbsp;

00:58:05.160 --> 00:58:07.120
So he's goes looking something&nbsp;
new he could serve in

00:58:07.120 --> 00:58:10.200
his restaurant, and he sees&nbsp;
all this abalone leaving&nbsp;

00:58:10.200 --> 00:58:13.400
the Monterey and says "yeah abalone, kind of like

00:58:13.400 --> 00:58:15.920
giant oysters!" He brought&nbsp;
them into his restaurant&nbsp;

00:58:15.920 --> 00:58:19.000
in the spring of 1908, experimented with it,

00:58:19.000 --> 00:58:21.840
and find that famous recipe&nbsp;
where you slice the foot&nbsp;

00:58:21.840 --> 00:58:23.720
because after eating eating abalone is the

00:58:23.720 --> 00:58:27.960
foot, it's just a big marine snail, and then
he would pound it you don't just pound it

00:58:27.960 --> 00:58:29.800
there's a certain technique to pounding it,&nbsp;

00:58:29.800 --> 00:58:31.640
and then he run it through&nbsp;
egg wash, cracker crumbs,

00:58:31.640 --> 00:58:34.240
and cover it quickly olive&nbsp;
oil and soon people came&nbsp;

00:58:34.240 --> 00:58:37.160
from all over to eat fresh abalone&nbsp;
steaks and Pop's restaurant.

00:58:37.160 --> 00:58:41.280
They'd sing songs and write poetry like, "some
folks boast the quail on toast because they

00:58:41.280 --> 00:58:48.160
think it's tony, but I'm content to owe my
rent and live on abalone." George Sterling wrote

00:58:48.160 --> 00:58:53.760
that in his guest books in 1913. Abalone is
introduced to the world in 1915 during the

00:58:53.760 --> 00:58:56.320
Panama Pacific International&nbsp;
Exposition and soon the&nbsp;

00:58:56.320 --> 00:58:58.800
whole world wanted this&nbsp;
product. Hotels, restaurants,

00:58:58.800 --> 00:59:02.040
all wanted this new sensation: abalone. Because&nbsp;

00:59:02.040 --> 00:59:05.720
of Pop's recipe the Japanese&nbsp;
abalone industry took off

00:59:05.720 --> 00:59:12.960
Just to give you an idea of how large it
was: in 1916, 1916, they brought in 600,000 pounds

00:59:12.960 --> 00:59:18.240
of red abalone in Monterey. 1920, there were nine
full-time Japanese abalone companies operating off

00:59:18.240 --> 00:59:21.800
the Monterey wharf. In 1929,&nbsp;
the California abalone industry&nbsp;

00:59:21.800 --> 00:59:24.360
is bringing in close to a million dollars

00:59:24.360 --> 00:59:32.160
in revenue, 75% of that in Monterey Bay. Prior
World War II, 80% of the businesses on the

00:59:32.160 --> 00:59:38.760
Monterey Wharf were Japanese owned - fish markets
abalone processors - so big, big, business which

00:59:38.760 --> 00:59:41.800
leads me to this gentleman right here. This&nbsp;

00:59:41.800 --> 00:59:46.000
is my old friend, and Sandy's&nbsp;
old friend, Roy Hattori

00:59:46.000 --> 00:59:54.640
Roy is very important for a lot of reasons.
But Roy, he's a handsome young man, Roy is

00:59:55.600 --> 01:00:01.280
Roy was the last of Japanese abalone divers,
but more importantly Roy was the only diver

01:00:01.280 --> 01:00:05.160
that was born here. He was&nbsp;
nisei, second generation.&nbsp;

01:00:05.160 --> 01:00:08.440
All the divers were born from Japan came to

01:00:08.440 --> 01:00:13.440
Japan and returned to Japan. They were all coming
working on contract. Roy he was born here, just

01:00:13.440 --> 01:00:13.960
a couple hundred&nbsp;&nbsp;

01:00:13.960 --> 01:00:18.600
yards up from where the Monterey Bay
Aquarium is today in 1919. And so this picture was

01:00:18.600 --> 01:00:22.720
taken, he was about 18 when this picture was
taken, and I asked him how he learned how to

01:00:22.720 --> 01:00:25.160
do this. He told me he was a young man he just&nbsp;

01:00:25.160 --> 01:00:27.840
graduated from Monterey High&nbsp;
School, his father was in

01:00:27.840 --> 01:00:30.040
the abalone business. During the depression,&nbsp;&nbsp;

01:00:30.040 --> 01:00:32.680
had a lot of debts to pay, he&nbsp;
thought "hey this would be a good

01:00:32.680 --> 01:00:36.840
way to make some money." But he had no experience
in this business. He had friends who were in

01:00:36.840 --> 01:00:39.000
it, so he borrowed some&nbsp;
equipment, takes one little&nbsp;

01:00:39.000 --> 01:00:40.440
boat in the middle of the Monterey Harbor and

01:00:40.440 --> 01:00:42.360
dresses up in this little underwear here.&nbsp;

01:00:42.360 --> 01:00:45.200
In fact Roy told me his&nbsp;
mother knit him this underwear

01:00:45.200 --> 01:00:48.040
right here. Put on the&nbsp;
clothes, put on the big heavy&nbsp;

01:00:48.040 --> 01:00:50.560
canvas suit, attached the 65 lbs of the lead

01:00:50.560 --> 01:00:55.960
waist to his front and back, tried lead to his
shoes, bolted on the helmet then he just tossed

01:00:55.960 --> 01:01:00.160
him off the side of the boat. Then you start
running down there, that's how he learned to

01:01:00.160 --> 01:01:04.400
be an abalone diver. Luckily the older divers
took him under their wing and kind of showed him

01:01:04.400 --> 01:01:10.320
what to do. So here's the typical this is the
typical gear that they would use. Again, all

01:01:10.320 --> 01:01:15.280
this gear came from Japan. When they first started
diving in Monterey at the turn of the 20th

01:01:15.280 --> 01:01:20.400
century they did try American equipment and
they didn't like it. It was too heavy and they

01:01:20.400 --> 01:01:25.440
said it was rough. Roy told me the Japanese
gear felt like putting on silk. And so you can

01:01:25.440 --> 01:01:31.880
see the suit and the weights, abalone basket
over there, the helmet, the lifelines, and the

01:01:31.880 --> 01:01:38.440
abalone pry you see right there. So I knew
Roy for about 20 years and I would I interviewed

01:01:38.440 --> 01:01:42.760
him a number of times. In fact the first time
I interviewed Roy, I should bring this up, it

01:01:42.760 --> 01:01:47.160
the very first time I interviewed Roy in 19
I think it was 1992 actually, Linda was with

01:01:47.160 --> 01:01:51.640
me that day that I interviewed Roy that day.
But I spent a lot of time with Roy over

01:01:51.640 --> 01:01:55.520
those years. I'd go and visit him at his house
and a few few months before he passed

01:01:55.520 --> 01:01:59.960
away he actually called me up and he said
Tim I want you to I want you to take me around

01:01:59.960 --> 01:02:04.240
Monterey to all these different places so
I can talk about my abalone diving days. So

01:02:04.240 --> 01:02:09.320
actually Sandy is with me for this and
we took him to Hopkins Marine Station, and

01:02:09.320 --> 01:02:11.880
talked to the the faculty at Hopkins and&nbsp;

01:02:11.880 --> 01:02:14.280
the students there. And we&nbsp;
went to the Monterey Bay

01:02:14.280 --> 01:02:19.240
Aquarium and talked to the volunteers there and
over at Point Lobos, and he really enjoy doing

01:02:19.240 --> 01:02:24.840
that. So this is Roy getting ready
to go diving. And here that's his brother on

01:02:24.840 --> 01:02:26.440
the right and his cousin on the left

01:02:26.440 --> 01:02:33.640
there. And here he is going down that ladder
to go into the into the water. These pictures

01:02:33.640 --> 01:02:39.120
by the way were taken by a guy named Rey Rupple
and Ray Rupple was a good friend of Roy and

01:02:39.120 --> 01:02:47.120
they took these photographs in 1939 on speculation
for an article for Life Magazine. Life Magazine

01:02:47.120 --> 01:02:49.160
was very interested in doing this story of&nbsp;

01:02:49.160 --> 01:02:52.040
of this abalone industry&nbsp;
because it was kind of unique.

01:02:52.040 --> 01:02:56.680
And so they took a whole series of images
they sent them to Life Magazine and they sat

01:02:56.680 --> 01:03:03.560
on it for a couple years and then the war
broke out with Japan and they never used them.

01:03:03.560 --> 01:03:10.160
So here's Roy, handsome guy, going down into
going down the ladder into the bay there. There

01:03:10.160 --> 01:03:22.360
you go. And that's his brother and
cousin, into the water. I love this photograph

01:03:22.360 --> 01:03:28.240
you can see so they would in the 30s
they're going on these three-day abalone cruises.

01:03:28.240 --> 01:03:32.120
So you have the dive boat, and then there's
a mother boat, you stay at night you stay on

01:03:32.120 --> 01:03:38.280
the big big mother boat. And this is of course
the dive boat here, and and so you see the

01:03:38.280 --> 01:03:44.000
crew on the boat here. The guy in the on the
on at the stern working the skulling ore that's

01:03:44.000 --> 01:03:48.720
technology that came from Japan. So with the
skull you have to use a motor, and you would

01:03:48.720 --> 01:03:53.120
just track the bubbles of the diver so you
knew where he was going out, or wherever he was

01:03:53.120 --> 01:03:57.240
under the water right there. You can see they
put an engine on the bow here so they can

01:03:57.240 --> 01:04:01.200
move it place to place. Often times they'd move
it from place to place and they'll just pull the

01:04:01.200 --> 01:04:04.000
diver up so he's just not&nbsp;
off, so he's just off the&nbsp;

01:04:04.000 --> 01:04:06.000
floor of the seafloor and then they were just

01:04:06.000 --> 01:04:10.760
moving while he's underwater. You can see
there's a cover over the engine there if you

01:04:10.760 --> 01:04:15.960
look closely you'll notice there's a tea kettle
and a pair of shoes. And so I asked Roy

01:04:15.960 --> 01:04:19.480
about that and he told me "yeah we always had
a tea kettle so I could get hot tea when I

01:04:19.480 --> 01:04:23.960
got out of the water, and I could put those
shoes on, my shoes would be warm when I put them

01:04:23.960 --> 01:04:28.840
on my feet" because he'd be so cold he'd literally
be shaking for like 30 minutes that's how

01:04:28.840 --> 01:04:34.560
cold that water was he'd come out of that water.
So again this is the mother boat coming in

01:04:34.560 --> 01:04:39.440
after three days. The box you see on the back
these are called live boxes. This is again

01:04:39.440 --> 01:04:43.760
technology came from Japan. That's how they
kept the abalone fresh for those three-day

01:04:43.760 --> 01:04:47.880
abalone cruises. They're made out of redwood,
they're made by the Siino Brothers at the Monterey

01:04:47.880 --> 01:04:52.000
Boat Works, and they would just pile the abalone
on top of each other inside those redwood

01:04:52.000 --> 01:04:54.760
boxes and kept them under&nbsp;
in the water while they're&nbsp;

01:04:54.760 --> 01:04:56.960
out they out fishing during the day and then

01:04:56.960 --> 01:05:03.640
they brought them back in to Monterey. So at this
time this picture is taken in 1939 there were

01:05:03.640 --> 01:05:09.200
at least three different abalone processing plants
on the wharf at that time. Here they are unloading

01:05:09.200 --> 01:05:14.160
the boats that go out. Each boat would come
in with about 200 dozen large red abalone.

01:05:14.160 --> 01:05:18.560
Abalone season would fluctuate from from season
to season sometimes it would be long like

01:05:18.560 --> 01:05:24.840
up to nine months. Sometimes it would be shorter.
But you can see the abs come in, those are

01:05:24.840 --> 01:05:27.800
big red abs there, and into the

01:05:27.800 --> 01:05:35.400
boxes. And then they would pull them into the
cannery. This is inside one of those processing

01:05:35.400 --> 01:05:37.120
plants, in fact this is&nbsp;
the processing plant if you&nbsp;

01:05:37.120 --> 01:05:39.560
know the Monterey Wharf this&nbsp;
is where the Fisherman's

01:05:39.560 --> 01:05:44.800
Grotto restaurant is today. And they could see
all the ladies, these are all Japanese workers

01:05:44.800 --> 01:05:46.640
in these canneries here and the ladies pulling&nbsp;

01:05:46.640 --> 01:05:52.760
the abalone out of the shell.&nbsp;
And then if you look here

01:05:52.760 --> 01:05:57.040
and then if you look at the guy holding
the hose right there that's Roy Hattori right

01:05:57.040 --> 01:05:59.280
there. I showed him that&nbsp;
picture he said "oh" Roy said&nbsp;

01:05:59.280 --> 01:06:01.080
"that's me!" I said "what do you mean I thought

01:06:01.080 --> 01:06:03.400
you were a diver?" Well Roy's mother actually&nbsp;

01:06:03.400 --> 01:06:06.640
had her own cannery on the&nbsp;
wharf, so Roy would dive

01:06:06.640 --> 01:06:09.160
for the family but when he needed money for&nbsp;

01:06:09.160 --> 01:06:11.160
his own personal use, when&nbsp;
he wanted to go on dates

01:06:11.160 --> 01:06:13.760
and things, he worked at&nbsp;
another cannery processing&nbsp;

01:06:13.760 --> 01:06:18.200
that one and that's him.

01:06:18.200 --> 01:06:23.240
So of course again they pounded this
is the process that Pop Ernest came up with and

01:06:23.240 --> 01:06:27.760
can of lyme there can see all. Roy told me that
in his mother's cannery she'd bring in these

01:06:27.760 --> 01:06:29.520
big old Sicilian guys to pound the tough

01:06:29.520 --> 01:06:35.840
steak. And of course it was&nbsp;
going to the restaurants,&nbsp;

01:06:35.840 --> 01:06:39.880
hotels, all across, up and&nbsp;
down Northern California,

01:06:39.880 --> 01:06:47.240
really by Pop Ernest, the guy that came up that
whole process right there. So in 1939 here's

01:06:47.240 --> 01:06:53.840
our friend Roy, this was taken about 1939 he
was would have been 19 years old and he was diving

01:06:55.560 --> 01:07:02.960
just south of Point Conception in September
of 1939, he was diving about 60 feet of water

01:07:02.960 --> 01:07:05.240
and diving through red&nbsp;
abalone, and it wasn't uncommon&nbsp;

01:07:05.240 --> 01:07:07.880
for these dive companies to go down to

01:07:07.880 --> 01:07:14.040
Southern California they were going down
there quite often, and so he was diving and

01:07:14.040 --> 01:07:18.600
he come across this abalone that looked unusual
to him. He knew it was different it wasn't

01:07:18.600 --> 01:07:24.400
a red abalone, it was just by itself.
He picked it up put in his abalone basket, sent

01:07:24.400 --> 01:07:28.680
it back to the surface, and when he got back
to the surface he looked at it "man this is

01:07:28.680 --> 01:07:32.040
odd looking," and he showed around to everybody
on the boat they didn't know what it was. He

01:07:32.040 --> 01:07:35.400
asked some of the other dive crews, they didn't
recognize it either. They were actually down

01:07:35.400 --> 01:07:39.640
there for about two weeks and so he spent
those two weeks looking for more of these

01:07:39.640 --> 01:07:43.920
unusual looking abalone. He actually found three
more of them at that time and they sent them

01:07:43.920 --> 01:07:49.160
back to Monterey. When he got back to Monterey
he took them to his friend a guy named Andrew

01:07:49.160 --> 01:07:55.680
Sorensen. Andrew Sorensen was lived in Pacific
Grove and he was a noted mollusk expert at

01:07:55.680 --> 01:07:59.960
that time and and Sorensen&nbsp;
and Roy had...would dive&nbsp;

01:07:59.960 --> 01:08:02.920
for him they would collect&nbsp;
things for him. And Sorensen

01:08:02.920 --> 01:08:08.240
looked at it and didn't recognize it and said
I'm not sure what this is, and so they in

01:08:08.240 --> 01:08:13.320
turn took it, there's the white abalone, that's
the abalone that he found right there, that's not

01:08:13.320 --> 01:08:16.880
exact one he found that's there. They took&nbsp;

01:08:16.880 --> 01:08:20.360
it to Hopkins Marine Station&nbsp;
where he showed it to Harold

01:08:20.360 --> 01:08:25.160
Heath, who was a zoologist of Hopkins at that
time. He didn't know what it was either. They

01:08:25.160 --> 01:08:27.000
showed to all the other&nbsp;
biologists and the scientists&nbsp;

01:08:27.000 --> 01:08:30.400
at Hopkins they didn't know&nbsp;
what it was for sure either

01:08:30.400 --> 01:08:39.960
and so Sorensen sent it to the Smithsonian to
his friend Dr Paul Bartsch, who was then the

01:08:39.960 --> 01:08:42.600
curator for mollusks and I&nbsp;
think he was the director&nbsp;

01:08:42.600 --> 01:08:44.880
of the of the Natural History Department there

01:08:44.880 --> 01:08:51.000
at that time. And and so people have been talking
about Roy. Roy talked to a lot of different

01:08:51.000 --> 01:08:52.600
historians and other writers writing about&nbsp;

01:08:52.600 --> 01:08:55.280
abalone and always talked&nbsp;
about that white abalone.

01:08:55.280 --> 01:09:00.600
He was very proud of that white abalone that
he found it and and but he never got credit

01:09:00.600 --> 01:09:05.160
for it. And he always talked about it and and
but we never had any proof about it no one

01:09:05.160 --> 01:09:12.560
ever you know we just he just told us and
so I had this idea last January, I had this

01:09:12.560 --> 01:09:15.080
idea that well, you know&nbsp;
maybe the Smithsonian still&nbsp;

01:09:15.080 --> 01:09:17.920
has that correspondence. So I wrote an email

01:09:17.920 --> 01:09:21.240
to the curator at the Smithsonian and about this&nbsp;

01:09:21.240 --> 01:09:25.120
and it took about six months&nbsp;
and several emails from

01:09:25.120 --> 01:09:29.880
me to various different curators some of them
not even in Washington DC, that on Memorial

01:09:29.880 --> 01:09:35.880
Day of this year all these letters appeared
in my email box that were written between

01:09:35.880 --> 01:09:38.560
Andrew Sorensen and Paul&nbsp;
Bartsch. So this is the first&nbsp;

01:09:38.560 --> 01:09:44.840
letter that Sorensen sent in 1939 and you can

01:09:44.840 --> 01:09:49.320
see what it says right there it says, "They
were found slightly south of Point Conception,

01:09:49.320 --> 01:09:51.880
California by a commercial abalone diver friend&nbsp;

01:09:51.880 --> 01:09:55.120
of mine in 10 fathoms depth."&nbsp;
Now he didn't, unfortunately

01:09:55.120 --> 01:09:59.840
he didn't mention Roy's name in that particular,
but it's handwritten which makes it really

01:09:59.840 --> 01:10:07.400
cool actually, and Bartsch actually should have
at that point asked who that diver was but

01:10:07.400 --> 01:10:15.000
he didn't. And so there's Dr Bartsch right there
there he is handsome gentleman he is right

01:10:15.000 --> 01:10:17.960
there. So he wrote this letter back because&nbsp;

01:10:17.960 --> 01:10:20.760
he had told him Sorensen&nbsp;
told him that we think, both

01:10:20.760 --> 01:10:28.560
Roy and I think that this is a new species
he said so he says you have for..."it is

01:10:28.560 --> 01:10:35.120
more than likely that this will prove, as you
surmise, a new species. If this be the case,

01:10:35.120 --> 01:10:37.800
I shall take pleasure by naming it for

01:10:37.800 --> 01:10:48.760
you." So here it is Haliotis sorenseni right
there. This this is the actual shell that Roy

01:10:48.760 --> 01:10:53.000
first collected and was the one sent to the
Smithsonian, so now in their collection&nbsp;&nbsp;

01:10:53.000 --> 01:10:53.840
there it is right

01:10:53.840 --> 01:11:03.800
there. And then in 1940 this was produced as
publication uh where now is this new species

01:11:03.800 --> 01:11:10.360
of abalone written by Bartsch right there and
it's all says all new species and a real big

01:11:10.360 --> 01:11:15.080
deal he actually mentions in this paper he
does mention quotes Sorensen's initial letter that

01:11:15.080 --> 01:11:23.880
it was collected by a commercial diver off
the Point Conception there. But in that same

01:11:23.880 --> 01:11:31.160
report here out of this so during that two week
dive in 1939 when there Roy also brought up

01:11:31.160 --> 01:11:38.000
this abalone. This is actually a subspecies of
the red abalone. It's a little bit smaller ...

01:11:38.000 --> 01:11:45.000
it's a little bit flatter and so he did name
this one after Roy. But Roy never talked

01:11:45.000 --> 01:11:50.480
about this, it's a sub species you know, it's
not a new species it's a it's a sub species.

01:11:50.480 --> 01:11:55.080
It's kind of like a consolation prize kind
of thing you know. When I was a kid I used to

01:11:55.080 --> 01:11:59.800
come home from school and we'd watch game
shows and at the end of the game show

01:11:59.800 --> 01:12:01.920
if you didn't win you get&nbsp;
like a consolation, a going&nbsp;

01:12:01.920 --> 01:12:04.480
away prize usually like a a case of Turtle

01:12:04.480 --> 01:12:10.160
Wax right so that's Roy's case of Turtle Wax
right they that's what he got, they named it after

01:12:10.160 --> 01:12:16.520
him right there. But this got the attention
of another diver who dove for Sorensen who was

01:12:16.520 --> 01:12:22.200
jealous that they he didn't get an abalone shell
named after him. So there's a letter that Sorensen

01:12:22.200 --> 01:12:32.720
wrote back to Bartsch about this and he says right
down there that I let's see "feels quite jealous

01:12:32.720 --> 01:12:37.120
of Diver Roy Hattori who&nbsp;
had one Haliotis named after&nbsp;

01:12:37.120 --> 01:12:41.880
him by you. Hattori also brought up the original

01:12:41.880 --> 01:12:48.480
large ones that you named H. sorenseni." there
it is in black and white right there telling

01:12:48.480 --> 01:12:53.440
you that Roy Hattori was the one that brought
those white abalone, and so the guy that first

01:12:53.440 --> 01:13:00.360
recognized this is a new species there it is
right there in black and white. So as you know

01:13:00.360 --> 01:13:04.440
there is a lot about white abalone today. People
want to save the white abalone. White abalone

01:13:04.440 --> 01:13:06.440
is I believe on the endangered species list&nbsp;

01:13:06.440 --> 01:13:09.040
the first mollusk ever even&nbsp;
named on the endangered species

01:13:09.040 --> 01:13:16.840
list. It began to be heavily fished in the 1960s
and was and I actually blame Jacques Cousteau

01:13:16.840 --> 01:13:18.960
for all this because he is a guy invented&nbsp;

01:13:18.960 --> 01:13:21.120
the aqualung in 1948 and&nbsp;
everybody could go down and

01:13:21.120 --> 01:13:27.960
get abalone but there is a big effort
to save white abalone up in Bodega Bay and also

01:13:27.960 --> 01:13:33.240
in Southern California, Santa Monica. the Santa
Barbara Museum of Natural History which

01:13:33.240 --> 01:13:38.040
has an aquarium is also involved in this project
but they're putting in an exhibit about white

01:13:38.040 --> 01:13:42.240
abalone, and I work with them a little bit,
and what's great about that is they are in

01:13:42.240 --> 01:13:44.160
their exhibit are acknowledging the fact that&nbsp;

01:13:44.160 --> 01:13:46.720
was Roy Hattori that was&nbsp;
the one who discovered that

01:13:46.720 --> 01:13:52.280
white abalone out there. so...But through&nbsp;

01:13:52.280 --> 01:13:55.480
the years Roy had his had&nbsp;
his they didn't acknowledge

01:13:55.480 --> 01:14:01.120
a lot this is there's young Roy right there
and then you notice that you already recognize

01:14:01.120 --> 01:14:07.840
the drawing painting on the side there that
is of course Ray Troll. And Ray Troll in early

01:14:07.840 --> 01:14:13.640
2000 when NOAA took over the big building
in Pacific Grove for the Fisheries building

01:14:13.640 --> 01:14:18.680
he was commissioned to do a mural around that
building and I was then working at the Maritime

01:14:18.680 --> 01:14:22.880
Museum so he came into the Maritime Museum
and I worked with him to get photographs for

01:14:22.880 --> 01:14:30.160
that mural and at that time I had an exhibit about
abalone and so you'll notice the guy

01:14:30.160 --> 01:14:36.120
and the Roy that's right there and that's
also Roy facing the diver right there. Now,

01:14:36.120 --> 01:14:39.040
they're trying to save this building right
because there's a whole thing about the building

01:14:39.040 --> 01:14:42.920
and they're going to tear the building down
and I actually this this past Sunday I was

01:14:42.920 --> 01:14:48.160
on a walk coast with the coast people
were trying to save this building so hopefully

01:14:48.160 --> 01:14:54.440
they can do that. So I'm not proposing that
they change the name I understand it's a big

01:14:54.440 --> 01:14:59.680
deal right you have to I why would be such
a big deal but don't ... I'm not proposing

01:14:59.680 --> 01:15:07.040
that but what I am proposing is they just
make an addition, right? And me, and the truth

01:15:07.040 --> 01:15:13.160
is what does it really matter, right? All these
principles, or they're all gone now. 85 years

01:15:13.160 --> 01:15:17.560
ago, and scientists have told me even if
you change the name they wouldn't do anything

01:15:17.560 --> 01:15:22.760
about it, no one would use that, but you know
that's irrelevant, it doesn't matter you know.

01:15:22.760 --> 01:15:30.120
The truth, I mean reality, is that that history
is history, science is science, and the truth

01:15:30.120 --> 01:15:30.480
is the

01:15:30.480 --> 01:15:41.280
truth. So here's my old friend Roy. This is
about six months before he died. I took that

01:15:41.280 --> 01:15:47.520
photograph at his house. So I have one last thing
I hope you can bear with me but I just added

01:15:47.520 --> 01:15:54.440
this yesterday because I was really moved
by this, alright. So there this ties to my title

01:15:54.440 --> 01:16:00.160
of my talk right? So Western Flyer, so I wasn't
really involved in any of this but I know

01:16:00.160 --> 01:16:03.520
people who are involved in this project,
have some good friends who are actually on the

01:16:03.520 --> 01:16:07.880
board of directors of this and and for some
reason another they invited me to go to this

01:16:07.880 --> 01:16:12.560
party last Friday over in Moss Landing, where
I got to go on the boat and see all that cool

01:16:12.560 --> 01:16:17.640
stuff. It was really a neat thing to see was
just I was it was just beautiful. So I was

01:16:17.640 --> 01:16:23.880
sitting on this wonderful deck, drinking
this beer from Other Brother Brewery and I was

01:16:23.880 --> 01:16:29.760
eating this pizza that had strawberries on
it, it actually was pretty good, and it just

01:16:29.760 --> 01:16:36.120
like epiphany, hit me out looking at this boat.
Oh wow, the Western Flyer. That boat was built

01:16:36.120 --> 01:16:44.200
in 1937 by the Western Boat Company for one
reason and one reason only, and that was to

01:16:44.200 --> 01:16:53.080
fish sardines. That was its sole purpose in life
was to fish sardines. It came to Monterey in 1938

01:16:53.080 --> 01:16:58.640
this sardine 38-39 season was really good sardine
season he came at the height of the season

01:16:58.640 --> 01:17:05.080
when they're really good and then in the 1939-
40 season which was part was the best starting

01:17:05.080 --> 01:17:13.040
season in all they caught over 600,000 tons
of sardines in that that season in Monterey. And

01:17:13.040 --> 01:17:19.680
of course this 1940 was the year that Steinbeck
hired this boat to take him and Ricketts down

01:17:19.680 --> 01:17:26.000
to Baja for that famous collecting trip but
also they have they happened to leave on that

01:17:26.000 --> 01:17:31.400
same weekend that the fisherman flew this
huge party at Monterey because of the great

01:17:31.400 --> 01:17:36.720
sardine catch that they had right. "Fishermen Will
Celebrate Good Season with Festival [on] Sunday."

01:17:36.720 --> 01:17:38.680
and says "Townspeople are invited to a party&nbsp;

01:17:38.680 --> 01:17:43.440
at waterfront. Boat parade,&nbsp;
games, barbecue, dancing"

01:17:43.440 --> 01:17:45.040
I love that part "bring knife and

01:17:45.040 --> 01:17:53.000
fork." Then of course all these wild things they
all great things skip races, boat parade,

01:17:53.680 --> 01:17:55.720
water wagon contest, I'm not sure what that&nbsp;

01:17:55.720 --> 01:17:59.200
was, pie-eating contest,&nbsp;
walking on the greasy pole,

01:17:59.200 --> 01:18:04.800
motorcycle racing, street dancing on Alvarado
Street. What a fun time that was. That was the

01:18:04.800 --> 01:18:10.800
same weekend those guys all left for Mexico
right? Of course it also was the beginning

01:18:10.800 --> 01:18:14.320
of the end of the Monterey&nbsp;
sardine fisheries. So this&nbsp;

01:18:14.320 --> 01:18:16.680
is the Western Explorer. This is the sister

01:18:16.680 --> 01:18:22.160
boat to the Western Flyer built by the Western
Boat Company. They built a number of these

01:18:22.160 --> 01:18:24.640
boats. This was captained by Frank Monaka,&nbsp;&nbsp;

01:18:24.640 --> 01:18:27.200
Japanese Fisherman. In fact Frank&nbsp;
was the first Japanese fisherman in

01:18:27.200 --> 01:18:32.440
all California to have one of these boats.
He was only 18 years old at that time. He actually

01:18:32.440 --> 01:18:35.400
had two of these, had the Western Explorer
and he also had a boat called the Western

01:18:35.400 --> 01:18:39.840
Navy. Look how low that guy's sitting in the
water right there you got 100 tons of sardines

01:18:39.840 --> 01:18:44.560
on that boat. So at one time there over
a hundred of these boats in Monterey Bay

01:18:44.560 --> 01:18:52.920
a hundred of them. By the early 1960s they
were all gone ... all gone. And then

01:18:55.040 --> 01:19:03.960
on Saturday she arrived. There was just, I mean
I actually had tears in my eyes I watched

01:19:03.960 --> 01:19:06.120
that come see another one&nbsp;
as Monterey one hadn't been&nbsp;

01:19:06.120 --> 01:19:11.560
in Monterey Bay like that&nbsp;
for 75 years, and now she's

01:19:11.560 --> 01:19:16.240
a boat they're going to outfit to do science and
take kids out the boat and teach them all

01:19:16.240 --> 01:19:18.360
about the Monterey Bay so&nbsp;
that to me is a wonderful&nbsp;

01:19:18.360 --> 01:19:20.400
thing and I know I bored you guys enough so thank

01:19:20.400 --> 01:19:22.840
you very much.

01:19:33.640 --> 01:19:40.040
So as was mentioned earlier they wrote a lot
of books and they're good books so in advance

01:19:40.040 --> 01:19:45.560
of this week, I went to my public library and
I got Linda's books, I got Tim's books and

01:19:45.560 --> 01:19:51.680
I read them all and I'm just going to pull
out one. This one is fantastic this is The

01:19:51.680 --> 01:19:57.560
Abalone King of Monterey, talking about Pop Ernest
and how abalone came to be in Monterey. Fantastic!

01:19:57.560 --> 01:20:02.480
Thank you. And Linda's an editor of this book
she got indigenous peoples to write their

01:20:02.480 --> 01:20:09.480
own stories it's fabulous and it's unique
in that way, so. And scientists too,

01:20:09.480 --> 01:20:16.080
archeologists, linguists, so it's a nice blending.
It's fabulous. So thank you for doing that.

01:20:16.080 --> 01:20:21.920
We're gonna take questions we have some
online maybe, and maybe some in the room so

01:20:21.920 --> 01:20:31.400
anyone in the room you have a question for
Tim or Linda anyone? Yes, Jane. For Linda, how

01:20:31.400 --> 01:20:37.600
in the world do you make out of the olive
shell make those beads and I'll repeat the

01:20:37.600 --> 01:20:44.840
question so the question was how does Linda
make the olivella beads on the basket? Maybe

01:20:44.840 --> 01:20:52.360
Linda come get I'm thinking fast how to make
it a quick answer. How, how would they have

01:20:52.360 --> 01:21:00.160
done it you know in the past? Yes. Well, I can
tell you how I did it and then kind of compare

01:21:00.160 --> 01:21:08.280
so I just broke them and like with a a rock
which would be a hammerstone, so that part

01:21:08.280 --> 01:21:18.920
could be equivalent to the past. And then
I found you know pieces that randomly broke

01:21:18.920 --> 01:21:27.520
that would work in terms of their size and
their curvature. Also, but there are many

01:21:28.160 --> 01:21:34.400
pitfalls and little glitches because there's
this our structural elements on the interior

01:21:34.400 --> 01:21:41.160
side of you know the shell because it's it's
a snail and so there are compartments and

01:21:41.160 --> 01:21:51.240
structural, you know, elements, so those have
to be tossed. And I also learned through

01:21:51.240 --> 01:22:01.120
lots of loss and I kept, I mean it kind
of blows my mind to think how I all the records

01:22:01.120 --> 01:22:12.040
that I kept because I kept track of everything
basically that I did and the the rate of

01:22:12.040 --> 01:22:19.760
of loss not only like as after I finally
found a piece that was suitable for potentially

01:22:19.760 --> 01:22:23.960
being a bead then it needed&nbsp;
to be drilled, and that's&nbsp;

01:22:23.960 --> 01:22:28.600
when I learned over time how olivella shell

01:22:28.600 --> 01:22:38.200
is very prone to fracturing along its I
think its growth I'm I'm I don't know Olivella

01:22:38.200 --> 01:22:44.520
biplicata from a science perspective only from
my personal you know experiences so I don't

01:22:44.520 --> 01:22:50.520
know what terminology to properly use, but
anyway, so lots and lots you know you do

01:22:50.520 --> 01:22:57.800
a lot of work, and then you try to drill and
it's a and half you know over the edge

01:22:57.800 --> 01:23:05.400
anyway so that's what I did and once I
I finally learned don't put any more work

01:23:05.400 --> 01:23:11.320
into it than necessary before you drill the
hole um so then after I drilled it and it

01:23:11.320 --> 01:23:19.200
didn't break then I would grind down the
edges but supposedly in the past, all of

01:23:19.200 --> 01:23:25.520
those pieces would have been stacked up. What
I do know is if you'll forgive me for a

01:23:25.520 --> 01:23:34.840
moment go from olivella shell to clamshell,
which are much thicker and much larger.

01:23:35.720 --> 01:23:44.800
Those, which I've made before, you do break
up pieces and then you drill them and they

01:23:44.800 --> 01:23:50.920
don't fracture because they're so thick and
sturdy, and then you stack them all up and

01:23:50.920 --> 01:23:57.280
you put something, like in modern times you
can put a piece of heavy gauge wire for example,

01:23:57.280 --> 01:24:03.680
or in the past you could put I don't know
a piece of a plant you know, wire grass or

01:24:03.680 --> 01:24:10.120
you know certain juncus species would be
strong enough, and then you roll and you grind

01:24:10.120 --> 01:24:20.240
and you upbraid those by rubbing them on
a flat piece of sandstone for example. I tried

01:24:20.240 --> 01:24:27.400
to do that with olivella shells and it didn't
work. Didn't work for me, but archaeologistd

01:24:28.560 --> 01:24:36.520
told me in the past that it appears that
um olivella shells were ground like that

01:24:36.520 --> 01:24:43.680
but the problem is the concave, you know,
shape of the olivella, and the fact that the

01:24:43.680 --> 01:24:51.440
shells, because they're very tiny species,
then the shell is proportionately thin,

01:24:51.440 --> 01:24:59.160
and when it breaks it breaks in with really
sharp pointy edges. So when I tried to roll

01:24:59.160 --> 01:25:08.200
and grind them that way, those sharp edges
just caught on for example the the slab of

01:25:08.880 --> 01:25:15.240
sandstone, and instead of sitting there
and grinding off they would just continue

01:25:15.240 --> 01:25:25.080
to rotate and I got nowhere. But I had one
surprise, I was going through a collection

01:25:25.080 --> 01:25:33.800
of artifacts that had come out of the ground
in or I should say at Filoli which is

01:25:33.800 --> 01:25:43.480
gosh somebody could help me near yeah near
Redwood City I believe Woodside yes, and I

01:25:43.480 --> 01:25:53.600
was helping to photograph these artifacts
before they were about to be reburied, and

01:25:53.600 --> 01:26:07.960
I could not believe my eyes when we came upon
a little olivella shell that had a rectangular

01:26:07.960 --> 01:26:17.320
piece cut out of it, and it had been scored
for all four sides you know yeah all four

01:26:17.320 --> 01:26:26.320
sides and that piece I mean was perfectly
this perfect little rectangle was missing

01:26:26.320 --> 01:26:33.800
from an otherwise whole olivella shell and
probably Ray Schwader who's here in the

01:26:33.800 --> 01:26:42.360
audience could um give us a much better
lesson about them and you know some aspects

01:26:42.360 --> 01:26:48.520
of the past if you wanted to know more you
can probably talk to her but I was told,

01:26:48.520 --> 01:26:56.840
because of the concave shape of the shell,
when I ground them individually then I was

01:26:56.840 --> 01:27:09.040
able to grind them basically perpendicular
to that edge, and therefore I was able to create

01:27:10.000 --> 01:27:16.680
a smooth edge. But if you try to grind them
all basically you would end up with a whole

01:27:16.680 --> 01:27:24.120
bunch of cups like this of pieces and you're
trying to grind those you know all together

01:27:24.120 --> 01:27:33.120
you do not end up with smooth edges but
Gary Buscini I believe it was told me that

01:27:33.120 --> 01:27:41.680
based upon the nature of the edge grinding
that they it appears that they or that

01:27:41.680 --> 01:27:49.720
was evidence that they had been, you know shaped
stacked I don't know if that agrees with

01:27:49.720 --> 01:27:57.360
your experience or not but or observation
but I don't see how those would be very

01:27:57.360 --> 01:28:03.440
attractive or very beautiful like end products
because when I tried to do it that way they

01:28:03.440 --> 01:28:08.000
just wouldn't grind very well anyway. Thank you.
Too long of an answer.

01:28:08.000 --> 01:28:16.520
But I think there's some online questions
or any other questions in the room at this

01:28:16.520 --> 01:28:23.280
moment. Well I have one, how did the baskets
get to Europe? Question is how do the baskets

01:28:23.280 --> 01:28:26.000
get to Europe?

01:28:26.000 --> 01:28:32.040
well
Well there were, as you already know, I mean

01:28:32.040 --> 01:28:41.040
it was early European visitors to the area
who ended up taking them back. And it's

01:28:41.040 --> 01:28:50.400
impossible to know at this time how, you know,
what the situation was I've heard people some

01:28:50.400 --> 01:28:57.680
people say, based upon zero documentation,
oh well they came and they stole your baskets,

01:28:57.680 --> 01:29:07.280
you know, and I doubt that that was actually
the case, but it's I I suspect that in

01:29:07.280 --> 01:29:16.160
some cases a priest probably, you know, I don't
know this is only me guessing in this case,

01:29:16.160 --> 01:29:25.560
but because there were few so-called you
know like European "European style civilized"

01:29:25.560 --> 01:29:34.160
outposts here at that time so European
visitors then of course wanted to go to places

01:29:34.160 --> 01:29:41.520
where people like them were there who spoke
their language and you know there were their

01:29:41.520 --> 01:29:48.080
their people so they were coming to Monterey,
San Francisco, I assume if you know San

01:29:48.080 --> 01:29:56.320
Diego, but uh considering the places that that
you know were easy to get to by by ships in

01:29:56.320 --> 01:30:05.240
the in that era. There were just a limited
number of places that people tended to visit

01:30:05.240 --> 01:30:11.160
and Monterey was one of those, San Francisco
another, probably Santa Barbara as well.

01:30:11.160 --> 01:30:23.600
Anyway so just at that time people were
collecting items that were kind of exotic.

01:30:23.600 --> 01:30:31.480
In in terms of what people in Europe were
unaccustomed to seeing and so is kind of the

01:30:31.480 --> 01:30:38.520
equivalent of us today buying you know souvenirs
of places where we've been, and there were

01:30:38.520 --> 01:30:47.080
few means of entertainment back in those
times. Not like today where we have you know

01:30:47.080 --> 01:30:57.160
TV and internet and all kinds of things that
take our attention, but in in those days people

01:30:57.160 --> 01:31:07.440
took back these things that were exciting
for people to see from an exotic distant location.

01:31:07.440 --> 01:31:16.040
Took them home and had these curiosity cabinets,
and and it's those collections of things

01:31:16.040 --> 01:31:26.440
that ended up being the the beginnings
of museum collections, like in Germany for

01:31:26.440 --> 01:31:31.320
example, but back in the days when all of these
things were being collected they were different

01:31:31.320 --> 01:31:39.640
little nations that eventually came together
as you know different countries I mean as

01:31:39.640 --> 01:31:49.400
more consolidated larger countries now. I know
for a fact that Ferdinand Deppe, who in 1830

01:31:49.400 --> 01:31:59.200
whatever 33 ish was in Monterey, he was actually
purchasing things from native peoples in places

01:31:59.200 --> 01:32:08.040
that he visited, because there's are written
letters of people saying why are why is he

01:32:08.040 --> 01:32:16.160
asking so much for why does he want
such a such a large price for this at a museum

01:32:16.160 --> 01:32:23.080
back in Germany what is today Germany, and
and his cousin said "well it's because he

01:32:23.080 --> 01:32:30.480
paid a high price for these" some of these
items you know feather blankets, these baskets

01:32:30.480 --> 01:32:38.800
might have taken a year or more to make so
he needed to pay, you know compensate the person

01:32:38.800 --> 01:32:45.160
a fair price for for the amount of work that
went into it. So because of that little bit

01:32:45.160 --> 01:32:52.240
of documentation I know that in his case he
definitely did not come and steal things. He

01:32:52.240 --> 01:32:54.880
in fact paid very fair

01:32:54.880 --> 01:33:03.360
prices.
Well I just want to share you all have gotten

01:33:03.360 --> 01:33:08.880
several shoutouts, both presenters, from our
online audience there's 70 people watching

01:33:08.880 --> 01:33:16.240
from home tonight, um a few less during the
Q&amp;A admittedly, so specifically I did want

01:33:16.240 --> 01:33:20.640
to share one person asked to share a shout
out from ... to the both of you they're

01:33:20.640 --> 01:33:27.600
thinking of you and sending you a nice all
right well they're sending you lots of support.

01:33:28.160 --> 01:33:34.400
But another question that had come up
kind of follow up to uh the discussion we

01:33:34.400 --> 01:33:40.760
just had about why these baskets ended up
in Europe, is there are there efforts right

01:33:40.760 --> 01:33:47.960
now or in the works to bring some of those
baskets back to some of the places that they're

01:33:47.960 --> 01:33:51.560
that they were originated from?

01:33:55.600 --> 01:34:01.960
I can't say a lot very you know very super
specific, but I know that, I believe that there

01:34:01.960 --> 01:34:09.760
have been some efforts for repatriating
certain cultural materials from particular

01:34:09.760 --> 01:34:17.200
museums, I think in Europe, but unfortunately
it's been a long time ago that I read something

01:34:17.200 --> 01:34:25.720
about this and I don't remember the particulars.
What I can say is it would be a complicated

01:34:25.720 --> 01:34:35.480
situation to suggest doing that at this point,
because who would get it? Where would it go?

01:34:35.480 --> 01:34:43.440
and I would personally think that just
bringing them closer to home perhaps bringing

01:34:43.440 --> 01:34:52.880
them even on a long-term loan to a museum
close to home would be a a great thing

01:34:52.880 --> 01:35:02.080
to do because if it went to particular
people, we don't have any really organized,

01:35:02.080 --> 01:35:11.280
large, kind of tribal organizations and
so who who would be responsible, or who would

01:35:11.280 --> 01:35:19.640
have ownership of them and the responsibility
for them? But museums are not bad places

01:35:19.640 --> 01:35:29.920
at all, especially now, the efforts over
the past 30, 40 years even I have seen the

01:35:29.920 --> 01:35:43.240
difference in the desire and the I don't
know, stated mission of museums to actually

01:35:43.240 --> 01:35:53.880
share collections with the cultural communities
that they're associated with and often the

01:35:53.880 --> 01:36:00.360
relationship is quite reciprocal. I know that
at times when I visited museums to look at

01:36:00.360 --> 01:36:13.160
our baskets, I went into the visit thinking
that I was the one gaining this great opportunity

01:36:13.160 --> 01:36:20.320
but I ended up being quite surprised when
I was the one telling them, oh well this is

01:36:20.320 --> 01:36:25.440
you know I could tell them I could recognize
and I could tell them every single material

01:36:25.440 --> 01:36:33.480
that that basket was made out of. I could
recognize so many things that an average person

01:36:33.480 --> 01:36:40.120
would not. Their catalog card might identify
the the basket as being made of plant material

01:36:40.120 --> 01:36:51.120
like duh, but I could tell them the precise
species. I can recognize for the most part

01:36:51.120 --> 01:36:57.920
what what fiber a particular handmade string
was made from if it's from California. So

01:36:58.680 --> 01:37:08.000
the benefit works towards both parties, and
a lot can be done if I think if I really

01:37:08.000 --> 01:37:16.120
like the idea of trying to have local museums
see if if we could bring those baskets close

01:37:16.120 --> 01:37:26.360
to home, or we can visit them and learn from
them. Alright anyone else? Last chance. Well

01:37:26.360 --> 01:37:31.560
I want to thank both Tim and Linda tonight,
congratulations, and before everyone leaves,

01:37:31.560 --> 01:37:34.360
please check out the basketry, the artwork, the&nbsp;

01:37:34.360 --> 01:37:37.640
books on the on the shelf&nbsp;
there. They're beautiful.

01:37:37.640 --> 01:37:54.800
So thank you all for coming.&nbsp;
Another year [Applause]