WEBVTT Kind: captions Language: en 00:00:00.320 --> 00:00:09.120 the broadcast is now starting all attendees are in listen only mode hi good evening welcome 00:00:09.120 --> 00:00:15.040 to the Sanctuary Exploration Center my name is Lisa Woonick I'm the superintendent of 00:00:15.040 --> 00:00:21.360 the Monterey Bay National Marine Sanctuary and it is my honor to be here and to welcome 00:00:21.360 --> 00:00:31.040 you today to the 36th Ricketts Award so yes and we have some great recipients I won't 00:00:31.040 --> 00:00:34.880 say more about that because there's going to be another group of people after me speaking 00:00:34.880 --> 00:00:41.320 but I just wanted to take a moment to say thank you to the Research Activity Panel that 00:00:41.320 --> 00:00:48.960 um really puts together the Ricketts award every year and the research activity panel 00:00:48.960 --> 00:00:55.680 has was instrumental in designating the sanctuary they were in place they helped put together 00:00:55.680 --> 00:01:03.640 our first action plan and they are still meeting going strong and we really appreciate everything 00:01:03.640 --> 00:01:08.920 that the research activity panel does every year this last year they've been working on 00:01:08.920 --> 00:01:18.800 some of our priorities kelp and climate and one of our other priorities is to expand our 00:01:18.800 --> 00:01:26.800 connections with communities that we don't typically reach and I am very pleased that 00:01:26.800 --> 00:01:38.120 this year the recipients of the Ricketts award represent that um sector um Linda Yamane and 00:01:38.120 --> 00:01:48.360 Tim Thomas are really leaders in the field of connecting us to the history of our sanctuary 00:01:48.360 --> 00:01:55.920 so and I also wanted to say thank again say thank you to all of the research activity 00:01:55.920 --> 00:02:01.880 panel members some of you are here so thank you for all of your years of service and um 00:02:01.880 --> 00:02:10.400 I'm going to now allow Erica Burton to follow with some more words of welcome so thank you 00:02:10.400 --> 00:02:17.560 thanks thank you is this on Becky okay I noticed it wasn't really 00:02:17.560 --> 00:02:26.960 elevated great thank you everyone for coming my name is Erica Burton I'm a research ecologist 00:02:26.960 --> 00:02:31.720 at the sanctuary office and I'll be MC-ing in tonight guide us through the night and 00:02:31.720 --> 00:02:35.840 just to let you know how we're going to proceed tonight I'll give a brief background on the 00:02:35.840 --> 00:02:39.960 RAP and the Ricketts award in general and then we have Steve Haddock the vice chair 00:02:39.960 --> 00:02:44.440 of the RAP he is going to present the awards today he's also a senior scientist at the 00:02:44.440 --> 00:02:49.480 Monterey Bay Aquarium Research Institute, and then we'll start with the speakers I'll 00:02:49.480 --> 00:02:54.040 introduce speaker number one Linda Yamane. We're going to hold questions until after 00:02:54.040 --> 00:02:58.280 both speakers tonight so after Linda speaks then I'll introduce Tim, he'll speak. Each 00:02:58.280 --> 00:03:02.120 will be about 30 minutes and then we'll hold questions in the end and we'll probably wrap 00:03:02.120 --> 00:03:09.880 up around 8:00 if not sooner. So in general about the Ed Ricketts award: the award was 00:03:09.880 --> 00:03:15.360 created to honor scientists who have exhibited exemplary work throughout their career and 00:03:15.360 --> 00:03:19.960 advance the status of knowledge in the field of Marine Science. And as Lisa said the first 00:03:19.960 --> 00:03:28.320 award was presented in 1986 at the Monterey Bay Aquarium and this is the 36th year. Recipients 00:03:28.320 --> 00:03:33.360 are selected by the RAP and they are working group of the Sanctuary Advisory Council. And 00:03:33.360 --> 00:03:39.320 recently as Linda sorry as Lisa alluded to the rap broadened the criteria of the award 00:03:39.320 --> 00:03:44.640 to be for lifetime achievement in the field of marine conservation, science, or education 00:03:44.640 --> 00:03:49.760 based in part on Edward Ed Ricketts' exemplary ability to study the natural history and share 00:03:49.760 --> 00:03:54.440 knowledge in a compelling fashion. And just a little bit about Ed I think you probably 00:03:54.440 --> 00:03:59.160 all know who he was but just to wrap up for those online too he was born in Chicago in 00:03:59.160 --> 00:04:04.200 1897 and he spent a little bit of time at the University of Chicago. Didn't finish there 00:04:04.200 --> 00:04:09.440 but he moved to Monterey in 1923 and he opened the Pacific Biological Laboratories and he 00:04:09.440 --> 00:04:14.960 provided specimen and slides to many research institutions and then Ricketts met John Steinbeck 00:04:14.960 --> 00:04:19.280 in 1930 he became a major influence on the author's writings and his philosophy and he 00:04:19.280 --> 00:04:24.640 served as inspiration from many of his books including Cannary Row. And they were on their 00:04:24.640 --> 00:04:29.680 famous trip aboard the vessel Western Flyer who it's been refurbished it's in Monterey 00:04:29.680 --> 00:04:35.120 again you may have seen it this weekend he and Ricketts Ricketts and Steinbeck explored 00:04:35.120 --> 00:04:40.680 the Gulf of California and collaborating in the book The Sea of Cortez but famous in the 00:04:40.680 --> 00:04:45.720 scientist World also is that Ricketts also wrote the Between Pacific Tides which continues 00:04:45.720 --> 00:04:51.840 to be a textbook for universities around the country. But in the spirit of Ricketts and 00:04:51.840 --> 00:04:57.320 especially this year his work and unconventionally holistic approach to science has inspired 00:04:57.320 --> 00:05:03.560 generations of researchers so it reflects who we've selected this year for the award. 00:05:03.560 --> 00:05:08.360 So now I'm gonna hand it off to Steve Haddock the vice chair to do the presentations of 00:05:08.360 --> 00:05:08.520 the 00:05:08.520 --> 00:05:20.640 awards. Good evening everyone. So as has been mentioned the rickets award traditionally 00:05:20.640 --> 00:05:26.640 has gone to a scientist or researcher, and I think this kind of reflects a lot of people's 00:05:26.640 --> 00:05:31.360 perception of the sanctuary itself where we're focused on the organisms and the habitats 00:05:31.360 --> 00:05:37.880 and and the environments but one of the core missions of the sanctuary is to preserve the 00:05:37.880 --> 00:05:44.200 cultural heritage and the history of that region it's not just about the animals that 00:05:44.200 --> 00:05:49.200 we're so attracted to so it was really nice this year that we could expand the rickets 00:05:49.200 --> 00:05:55.560 award to recognize two people who have made um great contributions to those aspects of 00:05:55.560 --> 00:06:03.800 of our surrounding area and the sanctuary itself first Linda Yamane she's a Rumsen Ohlone 00:06:03.800 --> 00:06:10.000 artist you can see some of her work back there a historian and a culture Bearer. She lives 00:06:10.000 --> 00:06:13.720 in Seaside she spent nearly  four decades researching  00:06:13.720 --> 00:06:17.680 and reviving Rumsen basketry, language, stories, 00:06:17.680 --> 00:06:24.120 songs, and a variety of traditional Ohlone technologies. And through pain staking work 00:06:24.120 --> 00:06:28.240 she's pieced together aspects of alone culture and Rumsen history that were once thought 00:06:28.240 --> 00:06:33.960 lost. One thing that I found fascinating was there are actual wax cylinder recordings from 00:06:33.960 --> 00:06:42.880 1902 of songs and there's some subsequent aluminum recordings but she's been able to 00:06:42.880 --> 00:06:48.040 use that to return some of these traditional songs back into the community which is really 00:06:48.040 --> 00:06:57.560 remarkable. She is known throughout the state and internationally as a master basket weaver, 00:06:57.560 --> 00:07:02.920 having brought this Ohlone art back into every day practice. She as an artist has Illustrated 00:07:02.920 --> 00:07:09.080 information signs for Monterey Bay and and San Francisco Bay region interpretive science 00:07:09.080 --> 00:07:14.920 for for various agencies. She's written two books of Ohlone stories one book on weaving 00:07:14.920 --> 00:07:19.600 and she's contributed to other books that are promoting this traditional environmental 00:07:19.600 --> 00:07:22.400 knowledge, and as we will hear she continues  00:07:22.400 --> 00:07:24.840 to rally Rumsen groups and  pass on these traditional 00:07:24.840 --> 00:07:35.280 arts throughout the community through educational programs. So Linda it is my pleasure Linda 00:07:35.280 --> 00:07:37.280 to present to 00:07:37.280 --> 00:07:43.800 you this Ed Ricketts award oh thank you 00:07:43.800 --> 00:07:50.840 congratulations can you get away from 00:07:50.840 --> 00:07:59.320 the 00:08:20.520 --> 00:08:21.280 [Laughter] 00:08:22.360 --> 00:08:30.760 Alright, so the other, no less distinguished, Tim Thomas worked as a curator for the Monterey 00:08:30.760 --> 00:08:35.680 maritime and history museum for 16 years and he has developed programs with the Monterey 00:08:35.680 --> 00:08:41.160 Bay Aquarium with California State Parks and with the sanctuary itself. He was part of 00:08:41.160 --> 00:08:46.320 the expedition team, I I think it really put the archaeological undersea archaeology on 00:08:46.320 --> 00:08:51.080 the map for the sanctuary, he was part of the expedition that mapped the wreck of the 00:08:51.080 --> 00:08:57.680 airship Macon back in 2006 with MBARI and with the sanctuary. He's the author of four 00:08:57.680 --> 00:09:03.120 books about Monterey history he leads walking tours of Monterey, and he's also on the board 00:09:03.120 --> 00:09:07.760 of directors for the Japanese American citizens League of the Monterey Peninsula. He's the 00:09:07.760 --> 00:09:12.720 curator of the Japanese American Heritage Center and he's the current chair of the city 00:09:12.720 --> 00:09:16.120 of Monterey's Museums and  Cultural Arts Commission.  00:09:16.120 --> 00:09:19.640 So in recognition for his contributions to 00:09:19.640 --> 00:09:24.240 preserving our history and knowledge and as you will hear tonight um some very interesting 00:09:24.240 --> 00:09:29.120 examples, Tim Thomas's the other 00:09:59.640 --> 00:10:03.000 And if you didn't have a chance I know a lot of people were hovering around the food table 00:10:03.000 --> 00:10:08.240 this evening but Linda and Tim both brought some artifacts and art basketry and books 00:10:08.240 --> 00:10:10.920 to look at so as you're leaving tonight after  00:10:10.920 --> 00:10:12.960 the question please stop  by there's some fascinating 00:10:12.960 --> 00:10:18.040 things over there. Alright, I'd like to introduce Linda. So Linda is going to share her journey 00:10:18.040 --> 00:10:23.640 of discovery of her native heritage culture through language, songs, baskets, boats, dance 00:10:23.640 --> 00:10:28.680 regalia, and material harvesting, it's a lot, all of which reflect the richness of the Monterey 00:10:28.680 --> 00:10:33.480 Bay area, the relationship its indigenous people have always had the land, and the depth 00:10:33.480 --> 00:10:38.000 of their resourcefulness and aesthetic values. I give you the floor Linda. In 30 minutes 00:10:38.000 --> 00:10:49.280 or less [Laughter] 00:10:49.280 --> 00:10:58.240 Well um [Rumsen Ohlone spoken] good evening and welcome everyone um Linda Yamane Rumsen 00:10:58.240 --> 00:11:10.680 Ohlone in Monterey, Carmel, [Rumsen Ohlone spoken] my name is Linda Yamane I'm Rumsen 00:11:10.680 --> 00:11:19.760 Ohlone and the area of Monterey lower Carmel River and Valley is my ancestral homeland 00:11:19.760 --> 00:11:27.720 so I wanted you to hear Rumsen Ohlone language spoken, not that would have been spoken here 00:11:27.720 --> 00:11:36.360 but in the Monterey area because it's beautiful to have our languages heard again. 00:11:36.360 --> 00:11:54.760 uhoh there you go wait how am I doing it oh I just had to click on it okay okay so I would 00:11:54.760 --> 00:12:00.480 like to acknowledge that Santa Cruz is the ancestral homeland of the indigenous Awaswas 00:12:00.480 --> 00:12:06.520 speaking Ohlone people with whom we Rumsens are closely related though another alone tribal 00:12:06.520 --> 00:12:12.320 group has for several years been active in Awaswas territory, I look forward to awaswas 00:12:12.320 --> 00:12:18.560 people becoming active and representing themselves in their own traditional homeland. When earlier 00:12:18.560 --> 00:12:26.960 this year a young Awaswas friend told me that she and other Awaswas people were being erased 00:12:26.960 --> 00:12:34.160 it really struck me, and she felt that they were being erased because Santa Cruz was being 00:12:34.160 --> 00:12:40.120 popularly identified as another tribe's homeland I knew at that time that I had to stop being 00:12:40.120 --> 00:12:46.840 silent on the issue and so I need to respectfully state the fact that Santa Cruz is traditional 00:12:46.840 --> 00:12:55.280 Awaswas territory and homeland. Yay it works now, okay. So I grew up knowing of my native 00:12:55.280 --> 00:13:03.440 heritage but very little of the specific culture. My grandmother in this photograph here um 00:13:03.440 --> 00:13:08.640 still practiced the use of plant medicines, but aside from knowing that our native ancestors 00:13:08.640 --> 00:13:14.400 had been baptized at Carmel Mission we knew very little else at that time. I later learned 00:13:14.400 --> 00:13:20.840 this was the case for essentially all contemporary Ohlone families. I really wanted to know more 00:13:20.840 --> 00:13:25.080 and as a young adult had a hard time finding what I was looking for because there were 00:13:25.080 --> 00:13:31.360 no readily available resources, and I really didn't know where to begin but eventually 00:13:31.360 --> 00:13:36.400 I realized that in order to learn about our culture, I needed to do some deep genealogy 00:13:36.400 --> 00:13:43.640 work to find out exactly who my early ancestors were and where they lived. When I traced my 00:13:43.640 --> 00:13:48.600 lineage back to the Village of Tucutnut in lower Carmel Valley I finally had something 00:13:48.600 --> 00:13:56.120 I could work with. Here's my family tree from myself to my dad to my grandma, my great grandma, 00:13:56.120 --> 00:14:02.360 then to her dad, his mom, her father, and finally to my fifth great grandmother in the 00:14:02.360 --> 00:14:10.160 Rumsen village of Tucutnut in lower Carmel Valley. So I think it's beautiful to see faces 00:14:10.160 --> 00:14:14.720 put faces to kind of this vague concept of 00:14:14.720 --> 00:14:25.360 ancestor. She was only the 32nd person to be baptized at Mission San Carlos in Carmel, 00:14:25.360 --> 00:14:30.120 giving you an idea how early our families were physically, socially, and culturally 00:14:30.120 --> 00:14:36.160 impacted by the Catholic church and Spanish colonization. I think it was growing up knowing 00:14:36.160 --> 00:14:42.160 of my heritage but not the culture that led to a burning desire to find what was lost 00:14:42.160 --> 00:14:47.960 and I've spent the past nearly 40 years working on that, digging through far-flung ethnographic 00:14:47.960 --> 00:14:54.960 documents, some unpublished, and archaeological reports learning ancient technologies, plants, 00:14:54.960 --> 00:15:00.600 and other natural resources they require, then putting these technologies into practice. 00:15:00.600 --> 00:15:07.040 In the process I've had a few decades of up-close and personal experiences with these plants, 00:15:07.040 --> 00:15:12.720 learning their ways throughout the seasons and refining and expanding my skills and knowledge 00:15:12.720 --> 00:15:18.560 of ancient technologies, which have in turn given me many insights into the lives of Rumsen 00:15:18.560 --> 00:15:19.280 people of the 00:15:19.280 --> 00:15:27.880 past. Well I was about 35 years old when a random encounter with this poster printed 00:15:27.880 --> 00:15:34.120 by the Santa Cruz County Archaeological Society got me started on my quest to find Ohlone 00:15:34.120 --> 00:15:39.480 baskets, which in turn allowed me to begin making them myself. I had previously read 00:15:39.480 --> 00:15:46.160 what Anthropologist Alfred Crober had written that all of our baskets had perished um that 00:15:46.160 --> 00:15:51.720 none remained in the world but this poster contradicted that and taught me that there 00:15:51.720 --> 00:15:57.120 were indeed a few of our old baskets still remaining, so I set out to find them and then 00:15:57.120 --> 00:16:03.280 to begin making them. Of course this happened step by step over a long period of time. Since 00:16:03.280 --> 00:16:08.320 then I visited all but one of the baskets Illustrated on this poster and many others. 00:16:08.320 --> 00:16:15.160 There are only about 20 or 25 thereabouts oldtime Ohlone baskets remaining in the world 00:16:15.160 --> 00:16:21.280 and I've made 24 new ones which has basically doubled that number and it all started with 00:16:21.280 --> 00:16:21.480 this 00:16:21.480 --> 00:16:32.360 poster. Which was a Santa Cruz thing so all right. So in order to begin making baskets 00:16:32.360 --> 00:16:37.320 myself I needed to study some of these old baskets to see how they were made of what 00:16:37.320 --> 00:16:42.880 materials and scrutinize a whole lot of technical details. I visited a few of the old ones in 00:16:42.880 --> 00:16:48.720 distant museums studying counting stitches measuring taking detailed photos learning 00:16:48.720 --> 00:16:50.640 everything I could from the baskets 00:16:50.640 --> 00:16:58.200 themselves. Some of the things I observed I was then able to incorporate into my own 00:16:58.200 --> 00:17:04.080 baskets such as these little olivella shell beads woven into the inside of the basket 00:17:04.080 --> 00:17:10.520 that was like the biggest mind-blowing thing about visiting this Basket in Paris it's like 00:17:10.520 --> 00:17:17.720 oh there are little tiny olivella beads on the inside and of course we had only ever 00:17:17.720 --> 00:17:25.040 seen photos of the outside of the basket and when visiting the museum even though I had 00:17:25.040 --> 00:17:31.880 made advance arrangements and they knew I was coming still there was a funny little 00:17:31.880 --> 00:17:38.880 glitch when we got there and they initially were not going to take the basket out of its 00:17:38.880 --> 00:17:48.600 exhibit case. And it was mounted on a really tall ... whatever in this museum and so I 00:17:48.600 --> 00:17:55.520 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 00:18:09.480 --> 00:18:15.640 the cases for a short while before they opened to the public. That was when I had a chance 00:18:15.640 --> 00:18:23.080 to really look at these baskets up close and it was such a treat to find these little olivella 00:18:23.080 --> 00:18:31.720 disc beads on the inside so I ended up putting a few on the inside of a similar style basket 00:18:31.720 --> 00:18:32.960 that I made for the Oakland 00:18:32.960 --> 00:18:41.840 Museum and then basically just more looking 00:18:41.840 --> 00:18:46.680 scrutinizing and this at the British 00:18:46.680 --> 00:18:56.320 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  are two weaving techniques:  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  shallow mortar depression  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  00:32:33.360 --> 00:32:36.120 and relatives and friends  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  00:38:44.960 --> 00:38:50.280 side, I brought one of these  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  to this apprenticeship  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  most exciting collaborative  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  00:49:38.040 --> 00:49:42.960 Dad was that Dad worked  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  00:52:35.640 --> 00:52:39.240 fishery in all California.  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  oysters in his restaurant.  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  00:57:55.280 --> 00:57:57.920 of course oysters, like  any shellfish, any seafood, 00:57:57.920 --> 00:58:00.280 won't stay fresh very long. So often times  00:58:00.280 --> 00:58:02.440 he would ride to the train  station and already to pick 00:58:02.440 --> 00:58:05.160 up his order of oysters and they would be spoiled.  00:58:05.160 --> 00:58:07.120 So he's goes looking something  new he could serve in 00:58:07.120 --> 00:58:10.200 his restaurant, and he sees  all this abalone leaving  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  them into his restaurant  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  where you slice the foot  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,  00:58:29.800 --> 00:58:31.640 and then he run it through  egg wash, cracker crumbs, 00:58:31.640 --> 00:58:34.240 and cover it quickly olive  oil and soon people came  00:58:34.240 --> 00:58:37.160 from all over to eat fresh abalone  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  Exposition and soon the  00:58:56.320 --> 00:58:58.800 whole world wanted this  product. Hotels, restaurants, 00:58:58.800 --> 00:59:02.040 all wanted this new sensation: abalone. Because  00:59:02.040 --> 00:59:05.720 of Pop's recipe the Japanese  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,  the California abalone industry  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  00:59:41.800 --> 00:59:46.000 is my old friend, and Sandy's  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  nisei, second generation.  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   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  01:00:25.160 --> 01:00:27.840 graduated from Monterey High  School, his father was in 01:00:27.840 --> 01:00:30.040 the abalone business. During the depression,   01:00:30.040 --> 01:00:32.680 had a lot of debts to pay, he  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  equipment, takes one little  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.  01:00:42.360 --> 01:00:45.200 In fact Roy told me his  mother knit him this underwear 01:00:45.200 --> 01:00:48.040 right here. Put on the  clothes, put on the big heavy  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  01:02:11.880 --> 01:02:14.280 the students there. And we  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  01:02:49.160 --> 01:02:52.040 of this abalone industry  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  off, so he's just off the  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  in the water while they're  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  the processing plant if you  01:05:37.120 --> 01:05:39.560 know the Monterey Wharf this  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  01:05:46.640 --> 01:05:52.760 the abalone out of the shell.  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  picture he said "oh" Roy said  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  01:06:03.400 --> 01:06:06.640 had her own cannery on the  wharf, so Roy would dive 01:06:06.640 --> 01:06:09.160 for the family but when he needed money for  01:06:09.160 --> 01:06:11.160 his own personal use, when  he wanted to go on dates 01:06:11.160 --> 01:06:13.760 and things, he worked at  another cannery processing  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  going to the restaurants,  01:06:35.840 --> 01:06:39.880 hotels, all across, up and  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  abalone, and it wasn't uncommon  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  and Roy had...would dive  01:07:59.960 --> 01:08:02.920 for him they would collect  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  01:08:16.880 --> 01:08:20.360 it to Hopkins Marine Station  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  biologists and the scientists  01:08:27.000 --> 01:08:30.400 at Hopkins they didn't know  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  think he was the director  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  01:08:52.600 --> 01:08:55.280 abalone and always talked  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  maybe the Smithsonian still  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  01:09:21.240 --> 01:09:25.120 and it took about six months  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  Bartsch. So this is the first  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  01:09:51.880 --> 01:09:55.120 of mine in 10 fathoms depth."  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  01:10:17.960 --> 01:10:20.760 he had told him Sorensen  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   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  like a consolation, a going  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  had one Haliotis named after  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  01:13:06.440 --> 01:13:09.040 the first mollusk ever even  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  01:13:18.960 --> 01:13:21.120 the aqualung in 1948 and  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  01:13:44.160 --> 01:13:46.720 was Roy Hattori that was  the one who discovered that 01:13:46.720 --> 01:13:52.280 white abalone out there. so...But through  01:13:52.280 --> 01:13:55.480 the years Roy had his had  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  01:17:38.680 --> 01:17:43.440 at waterfront. Boat parade,  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  01:17:55.720 --> 01:17:59.200 was, pie-eating contest,  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  sardine fisheries. So this  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,   01:18:24.640 --> 01:18:27.200 Japanese Fisherman. In fact Frank  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  as Monterey one hadn't been  01:19:06.120 --> 01:19:11.560 in Monterey Bay like that  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  that to me is a wonderful  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  to be drilled, and that's  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&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  01:37:34.360 --> 01:37:37.640 books on the on the shelf  there. They're beautiful. 01:37:37.640 --> 01:37:54.800 So thank you all for coming.  Another year [Applause]