I'm going to read a chapter tonight a little bit longer than normal. I think it's the longest chapter in the book, actually. But I wanted to read it because I sometimes like to read when I go to different locations in the city to read at locations, read chapters about locations that are close to where we are. And as good luck would have it, the chapter that I'm going to read from is actually three blocks away from here. It's on Fillmore Street between Post and Sutter. This is chapter 41. It's titled The Haunted House. Every chapter has a specific address or location. So this one is 1712 Fillmore Street. A geologist would call the block of Fillmore Street between Post and Sutter a triple junction. It's one of those three-way collisions where a swanky part of town crashes into a seedy one while a completely different quarter sideswipes both of them. In 1974, my cousin Jonathan and I were house-sitting four blocks away at Pine and Buchanan in a majestic, decaying Victorian with a big psychedelic mandala painted in an alcove. We didn't know it at the time, but our building was a weird precursor to the summer of love. In 1965, that stretch of Pine Street had been a pre-hate hippie scene with half a dozen houses filled with long hairs and dealers. The downstairs unit in our building had been home to the legendary hippie newspaper The Oracle. Across the street at 2111 Pine, a rooming house once stood. Some of the itinerant musicians there played in a vanished after-hours jazz club three blocks away called Bop City. The rooming house was managed by a guy named Bill Ham, who invented psychedelic light shows. Our block was mostly black and pretty run down. We used to walk down to Kim's Market at Pine and Fillmore, now a Kiehl's, which sells $50 bottles of shampoo, to buy our daily $2 ration of sausages, carrots, and potatoes. If you turned right on Fillmore in a block, you would come to California Street, the city's great north-south dividing line. California was and is the unofficial border of Pacific Heights, the swankiest neighborhood in town. Turn left, and you would quickly end up in the unswankiest neighborhood in town. Past Kim's Market, as you walked toward Bush, the block was a grab bag with a venerable Japanese restaurant rubbing shoulders with a jumping jazz and R&B joint called Minnie's Can-Do Club. In the block after Bush, things started to become disheveled, a no man's land traversed by Japanese blacks and a few confused tourists looking for Japantown. Once you crossed the ugly, multi-lane, geary expressway, you were in the heart of black San Francisco. Some years after I moved out of the neighborhood, I happened to find myself on Fillmore between Post and Sutter. I remember being subliminally aware that there was something odd about the east side of the street. Its fang shui was wrong. In particular, there was something weird about a row of five stately Victorians, but I couldn't put my finger on it. It took me a few decades, but I finally learned why that block felt off. Those five Victorians were not built there. They were saved from the wrecking ball, raised up from their original sites, and plunked down on Fillmore. The block felt weird because the setbacks were too deep. It is appropriate that this line of Victorians stands out. For one of its buildings has a history so rich and strange that an entire book could be written about it. The house at 1712 Fillmore is San Francisco's version of Joyce's Seven Eccles Street. It is a universe on a 27 and a half by 93-foot lot. In or around 1895, a three-story Victorian was erected at 1690 Post Street just east of Buchanan in the Western Edition. The name Western Edition is a link with the Gold Rush Days when the city did not even include all of Knob Hill. In 1851, San Francisco's Western Limit was Larkin Street, a few blocks west of my old house on Jackson. A year later, the booming city extended its boundary 13 blocks west to Devisadero. The area north of Market Street between Larkin and Devisadero became known as the Western Edition. Despite the fact that the addition is now 160 years old, the name has stuck. A more suitable name, considering the way the city has treated the neighborhood and its residents, might be the Western Subtraction. The Western Edition was a solidly middle class and upper middle class neighborhood. Streetcar lines carried its merchants and professionals to their offices in downtown San Francisco. By 1900, its residents were mostly native-born, three-quarters of them to immigrant parents from countries like Germany, Austria, Ireland, and France. A significant number of them were Jews, mostly from Germany, attracted by San Francisco's lack of overt anti-Semitism and business opportunities. By the 1870s, Jews made up 7% to 8% of the city's population, the highest percentage in any city west of New York. The first of the neighborhood's three great transformations was a result of the 1906 fire. Displaced working-class people from the burned-out downtown and south of market areas poured in. The stately single-family Victorians were divided into rooms and flats. The neighborhood became more densely populated, a poorer and much more ethnically diverse. Large numbers of working-class Filipinos, Mexican-Americans, and Jews moved in. So did the two ethnic groups whose fates would become entwined in the neighborhood and in that wooden building on Post Street, African-Americans and Japanese. Blacks began arriving in San Francisco before the gold rush, but never in great numbers until World War II. As Albert Broussard notes in Black San Francisco, the struggle for racial equality in the West, 1900, 1954, the lack of factory jobs and the distance from the South discouraged black immigration, but so did the politely racist attitudes held by many white San Franciscans. The early city had no racial covenants for blacks and no ghettos, but it was only the fact that there were so few blacks that created the illusion of unusual tolerance. The white citizens of San Francisco shared many of the racial prejudices of their fellow white Americans. After 1906, increasing numbers of blacks moved into the Western edition. By 1930, almost half of all the 5,000 blacks in the city lived in the neighborhood. So did most of the Japanese. The first Japanese immigrants arrived in San Francisco in 1869, establishing the first and oldest Japan town in the United States. One of the most influential early immigrants, a devout Christian and future newspaper editor named Kyoto Abiko, established an agricultural colony of fellow Japanese in Livingston in the Central Valley, soon followed by a colony in Cortez, near Turlock. My Japanese grandparents emigrated to the Cortez colony in the early 1920s. My niecee, which means second generation father, was born in nearby Turlock in 1925. The first Japanese in San Francisco lived in South Park and on DuPont Grant Street in Chinatown. Like many other ethnic groups, they moved to the Western edition after 1906. The willingness of the neighborhood's landlords, many of them Jewish, to rent to Japanese did not sit well with many whites. In 1907, the Chronicle ran a scare piece about the Japanese invasion of the Western edition, titled A Greater San Francisco or a Lesser Nagasaki, which the Western edition was one of the most diverse neighborhoods in the country. Rider Jerry Flam calls it San Francisco's Little United Nations. The Japanese population was a mixture of older first generation Issei immigrants, many of whom were not US citizens. And their second generation, Issei children, almost all of whom were citizens. For convenience, I will refer to them all as Japanese Americans. At some point after the quake, the majestic Victorian at 1690 Post Street was divided into apartments. Sometime before 1920, the Nippon Drug Company opened on its ground floor. In 1930, the co-owner of Nippon drugs was a man named J. Hatsuto Yamada, who lived eight blocks away at Bush and Devisadero. By 1940, more than 5,000 Japanese Americans were living in Japantown. There were more than 200 Japanese-owned businesses. Some owned property, the exact percentage is unclear. Many worked as domestic servants, the famous Japanese houseboys. Japantown on the eve of the war was a bustling enclave. It had 40 churches, 17 schools and kindergartens, a department store and dozens of small businesses. Culturally, it was a scramble. There were four traditional baths, but also American-style diners, serving hot dogs, ham and egg sandwiches, and fried noodles. Then came Pearl Harbor. After war got out of the attack, hostile whites drove through the neighborhood, staring creepily at its inhabitants. The authorities immediately began arresting suspicious Japanese. An incident reported in the December 9 Call Bulletin reveals the round-up the usual suspects' nature of this early venture into homeland security. Under the headline, Enemy Aliens Arrested Here, the paper gravely reported that three Japanese men had been arrested on suspicion of taking a photo of an army transport, although no camera was found. No camera was found could have been the motto for the entire hysterical fear and race-driven episode that followed. Californians in general and San Franciscans in particular had long viewed the Japanese as even worse, more ambitious, more evil, more underhanded than the despised Chinese. Journalist and historian Kerry McWilliams described the hostility as the California-Japanese war. In 1900, the San Francisco Journal organized labor, opined. Chinatown, with its reeking filth and dirt, its gambling dens and obscene slave pens, its coolly labor and bloodthirsty tongs is a menace to the community. But the sniveling Japanese, who swarms along the streets and cringingly offers his paltry services for a suit of clothes in a front seat in our public schools, is a far greater danger to the laboring portion of society than all the opium-soaked pigtails who have ever blotted the fair name of this beautiful city. In February 1942, President Roosevelt signed Executive Order 9066, expelling all persons of Japanese ancestry, including aliens and non-aliens, from West Coast military zones. Every Japanese person in San Francisco was ordered to register and report at various sites for processing. Stripped of their belongings, except for what they could carry, they mustered at 2020 Van Ness near Jackson and then were sent to assembly centers, mainly the Tan Faran Race Track in San Bruno. Most of San Francisco's Japanese residents, including Nippon Drugs co-owner Hatsuto Yamada, were sent to the Topaz internment camp in Utah, one of 10 hastily built relocation camps scattered across the barren stretches of the country. My father and his family from the Central Valley were mustered at the Merced Fairgrounds, where my dad had once shown his 4-H club chickens, and imprisoned at Desalet Camp Amachi, official name Granada, on the high plateau in Colorado. By April, Japan town was empty. Sometimes the silences left by cataclysmic events are the loudest reminders. While researching the city directories, I compared the 1942 listings, compiled before the internment order, from Yamada to Yamazaki with the 1943 listings. In 1942, there are 32 listings. Yamada, Yamagata, Yamaguchi, Yamamoto, Yamasaki, Yamazaki. In 1943, there are none. The names and the people are simply gone. The forced removal and imprisonment of 110,000 people, most of them American citizens, for no other reason than their race, was one of the great injustices in US history. But the sudden departure of 5,000 Japanese from the Western Edition proved a boon to another victimized group of Americans, blacks. As we have seen, World War II was responsible for the great influx of blacks into San Francisco. Before the war, the city had fewer than 5,000 black residents. By the end of the war, 32,000 blacks, drawn by good-paying shipyard jobs and the opportunity to get out of Texas or Louisiana, were living in the city. The jobs were there, but there was literally nowhere for the newcomers to live. Some found housing in the apartments that were quickly constructed in Hunter's Point by the shipyard. But thousands more units were needed.  In this charged situation, the empty apartment buildings and houses in Japantown were a godsend. Because the neighborhood was already racially mixed, its landlords were happy to rent to blacks. Between 1940 and 1950, the black population of the Western Edition went from 2,144 to 14,888. Citywide, the demographic change was even more startling. San Francisco went from having 4,846 black residents in 1940 to 43,502 in 1950. In one of the stranger urban transformations in American history, the area around Poston Buchanan went from being a Japanese neighborhood to a black one, virtually overnight. Maya Angelou, bless her, who, as a 13-year-old, had moved into a building near that very corner, wrote, the Yamamoto seafood market quietly became Sammy's shoeshine parlor and smoke shop. Yashagira's hardware metamorphosed into La Salon de Butte, owned by Ms. Clarinda Jackson. The Japanese shops, which sold products to Nisei customers, were taken over by enterprising Negro businessmen, and in less than a year became permanent homes away from home for the newly-arrived southern blacks. Where the aromas of tempura, raw fish, and cha had dominated, the aroma of chitlins, greens, and ham hocks now prevailed. The old neighborhood was gone, and overnight its new inhabitants made it their own. And the neighborhood they created before the city destroyed it was one of the most jumping places on the planet. It was called the Fillmore, aka the Harlem of the West, or just the Moe. Within months, the Fillmore was exploding with life, and its crown jewel was its jazz clubs. By a coincidence, as exuberant as an art Blakey snare drum roll, the Fillmore's incarnation as a black neighborhood at the beginning of World War II exactly coincided with one of America's great artistic achievements, a rival to abstract expressionism, the birth of modern jazz in its first incarnation, bebop. The virtuoso improvisational style created by Bird, and Diz, and Monk, and Max Roach, and Bud Powell ushered in a new age of intense, deeply personal, and harmonically advanced music. It took serious chops to play bebop, to use a phrase coined by Mark Shorer, the great English professor across the bay at UC Berkeley. It was technique as discovery. And what they discovered during 1,000 jam sessions was an American soundtrack of genius and joy. For more than 15 years, the Fillmore was the hottest jazz, blues, and R&B scene outside New York. Everybody in the hood and plenty from outside dressed to the nines and hit the streets to drink, party, and listen. The mile-long stretch of Fillmore and its side streets was packed with more than two dozen clubs. All the greats came, Charlie Parker, John Coltrane, Miles Davis, Dizzy Gillespie, Billy Holiday, and Dexter Gordon, to name just a few. Even Art Tatum, a.k.a. God, played the mo. In 1949, the old Victorian at 1690 Post underwent its strangest transformation yet. Shuttered up Nippon drugs reopened as Voote City, a club run by a jazz guitarist, pianist, composer, and singer named Slim Gaylord. Gaylord was a weird and wonderful character, a musical cousin of Lord Buckley. In addition to speaking eight languages, Gaylord made up his own, which he called Voote, hence the name of his club. Jack Kerouac immortalized Gaylord in On the Road. He describes going to see him at a little Frisco nightclub, where great eager crowds of young semi-intellectuals sat at his feet and listened to him on the guitar, piano, and bongo drums. He does and says anything that comes into his head. Shockingly, Gaylord turned out to be a terrible businessman, and Voote City quickly folded. The building's owner, Charles Sullivan, had to find a new tenant. Sullivan approached John Jimbo Edwards, one of the first black car salesmen in San Francisco, who decided to open a cafe called Jimbo's Waffle Shop in the former Voote space. When local musicians discovered it had an unused back room, they started using it for after-hours jam sessions. Jimbo changed its name to Bob City. Word got around, and soon every jazz musician who came to San Francisco started heading there. The cover photograph of a book about the Moe's Glory Days, Harlem of the West, the Fillmore Jazz Era, by Elizabeth Peppen and Louis Watts, captures an indelible moment. A heartbreakingly young, innocent-looking tenor player stands on the stage. He and fellow tenor man, John Handy, and trumpeter, Frank Fisher, are listening to Altuist Pony Poindexter soloing. The young man is leaning slightly forward, his eyes half shut, a slight smile on his face. He is listening so intently, so gently, that his whole body seems to be a receptacle for sound. The young man is John Coltrane. Bob City carried the torch for 15 glorious years. But by the early 1960s, musical tastes had changed. Jazz was not as popular with either whites or blacks. The club featured more R&B. In 1965, owner Charles Sullivan closed it down. Sullivan was a remarkable man. He was born in Monroe County, Alabama, to an illiterate mother. He ran away from his adoptive father at age 13 and made his way to San Francisco. When the war broke out, he was the only qualified black machinist in California. He tried to get a job at the shipyards, but the Union refused to hire blacks. Sullivan got 50 white machinists to testify on his behalf, but it took the personal intervention of President Roosevelt to get the Union to hire him. During the war years, he began opening bars and liquor stores in the Bay Area, including a liquor store just down the street from Bob City at 1623 Post. It was the first liquor store in San Francisco to make free deliveries. Branching into entertainment, he became the leading black music promoter on the West Coast. The same year that Bob City closed, Sullivan played a key role in the birth of music that would permanently relegate jazz to the high art low audience niche. Sullivan loaned his dance license for the Fillmore Auditorium to a young promoter named Bill Graham. The airplane, the dead, Big Brother, Zappa, and other rock bands played there in 1966 and 1967, kicking off a musical revolution as profound as the one that created jazz. Sullivan himself met an unhappy fate. In 1966, he was found dead near Fifth and Bluxom Street, shot in the heart. The case was never solved. The ghosts of Vute City and Bob City haunt San Francisco, evoking a fabled time and neighborhood that will never return. But those legendary clubs were themselves haunted by a ghost, the ghost of Nippon drugs, the business that had occupied the building for decades. When Hatsuto Yamada returned to San Francisco from Topaz, he opened a new drug store two blocks away at 1698 Sutter. The 1945-46 city directory shows that James H. Yamada gave up his old residence on Divisidero and moved to 1950 Bush between Laguna and Buchanan. Whether he owned the old building and sold it before shipped off to the camp or rented it is not clear, but he never returned to 1690 Post. Yamada renamed his new store Jim's Drug Company after the James that he aberrantly began calling himself after the war. One wonders what Jim thought as he walked past his old store, now bearing the ironically similar name Jimbos. After the war, some of the internees returned to Japantown, but many did not. As Reid Yoshio Yokoyama notes in one of the few studies of Japanese resettlement in San Francisco, many evacuees believing ethnic enclaves only exacerbated racism thought it would be better to disperse the major Japanese-American organization, the Japanese-American Citizens League, took the same position. JACL president Saburo Kido, who visited Japantown in late 1944, wrote that returning Japanese-Americans would face four problems, housing, jobs, hostility from labor unions, and relations with blacks. Kido warned, since blacks occupy the former Japanese residential district, they will resent being displaced by returning evacuees. A confidential government report echoed Kido's fears, predicting that the release of Japanese from war relocation authority camps will be the cause of friction and racial clashes when the Japanese arrived back in California. Despite such concerns, about half the former residents of Japantown did return. They found that housing was indeed a major problem. Those who had been renters found that their apartments were occupied by others. Property owners, who may have constituted as much as half of the returners, fared better, but not always. There were 13 occasions on which their property was seized by the government. At first, many stayed in hostels or slept on cots, but gradually the Japanese-Americans found places to live. Work was also hard to find. Anti-Japanese sentiment continued to run deep for years after the war. In 1949, the famous Japanese tea garden in Golden Gate Park was still being referred to as the Oriental Tea Garden. The Hagiwara family, who had lovingly tended it for three generations, was not allowed to return to it. Not until 1958 did ownership of the garden return to the Japanese community. Many businesses would not hire Japanese.  In late August 1945, more than 60 members of the AFL Machinists Union threatened to strike after they learned that a 37-year-old Nisei named Takio Miyama had been placed as a mechanic with a municipal railway. Mayor Roger Lapham and State Senator Jack Shelley tried to convince the workers not to strike, but they refused to back down. Miyama was going to withdraw, but after a three-hour meeting with JACL and war relocation authority officials, he decided he would go to work, saying that he, quote, would be betraying other Nisei and other minority groups if he abandoned his fight for a job. Miyama showed up for work at the bar in the next morning, and the machinists put down their tools. Facing 60 angry men, two men rose to defend Miyama. Both of them were bus drivers and part of a different AFL union. The first driver was a black man named Robert Gray. As the Pacific Citizen reported, Gray said, when Negro bus drivers went to work from uni, there was some fuss at first, but soon everybody got used to it. If you boys let this man go to work, you'll find it'll be the same way. The second driver was an American Indian named James Burns, who said, do you want the sort of thing here that goes on in the old south? But the machinists refused to yield, saying that because Miyama had not fought in the war, they would not work with him. At this moment, the chief radio technician at the barn, Harold Stone, spoke up. Just five months earlier, Stone had been awarded a silver star for bravery. When his carrier, the USS Franklin, was devastated by Japanese dive bombers on March 19th, and 807 men were killed. The most casualties on any American warship during the war, except the Arizona, sunk at Pearl Harbor. Stone said, I didn't go out to fight in the Pacific, so people with differently colored skin would be discriminated against when I got home. The war hero's speech made the difference. By a better than two to one margin, the machinists voted to stay on the job. By 1946, 2,500 Japanese Americans had resettled in Japantown, about half of its original population. Within two years, the population was back to its old size. But many of these were newcomers. San Francisco State University professor Ben Kobashigawa found that only one third of the 1952 Japanese surnames listed in the directory were pre-war names. By 1949, a lively but smaller Japantown was centered at Post and Buchanan, with 150 instead of 400 businesses. It is difficult to get a clear picture of the relationship between blacks and Japanese Americans after the war. Research is scanty, and neither group is interested in reopening any old wounds that may still exist. After her family moved to Japantown, the young Maya Angelou was struck by the fact that the Japanese seemed to have vanished into thin air, leaving not even a memory. No member of my family and none of the family friends ever mentioned the absent Japanese, she wrote. It was as if they had never owned or lived in the houses we inhabited. Keenly aware of the irony of one victimized people taking the place of another, Angelou wrote, a person unaware of all the factors that make up oppression might have expected sympathy or even support from the Negro newcomers for the dislodged Japanese. Blacks did not feel such sympathy, Angelou believed, for all two human reasons. They were doing well, and because the Japanese weren't whites, they didn't have to fear or even consider them. Some blacks shared the negative views of the Japanese held by most of society. The NAACP, for example, took only a tepid stand against internment, but many blacks had a more favorable view. A reporter for the Afro-American newspaper, Vincent Tubbs, went to San Francisco during the evacuation. During the course of his stay, Tubbs's attitude became more sympathetic to Japanese Americans, and he noted that the black community's attitude had also changed. Tubbs came to understand that, like blacks, the Japanese Americans had been victimized solely because of their race. He said that many blacks referred to Japanese Americans as their good friends. As for the returning Japanese Americans, they mostly wanted to avoid conflict and resume their lives. Some Yisei, and to a lesser degree some Nisei, may have held racist attitudes, but if so, they did not express them. More likely, the returnees were simply wary of their new neighbors. In making home from war stories of Japanese American exile and resettlement, one aged Nisei, who was sent with his family to live at Hunter's Point, describes running away in fear as a child when he saw a large black man on the street and offers a poignant apology for something that had clearly troubled him his entire life. In general, I would say the relations between the blacks and the Japanese were friendly, not chummy, 86-year-old Yokio Takakua, whose family returned to their home in Japantown after being interned, told me. We tolerated each other, and we were decent to each other. There wasn't that much contact. Certainly, the predicted clashes did not take place. When a black group, the Carver Club, put forward, should the Japanese be returned to the West Coast as a debate topic, no one was willing to argue the negative side. There were numerous documented acts of black kindness toward the Japanese Americans. A black landlord saved Onami Taito's stock during Taito's internment, allowing him to reopen his arts goods store. The first cleric to welcome the returnees was a black minister who invited them to join his church in San Francisco. In Oakland, the black neighbors were among the first to welcome back a returning dentist and his wife. A number of black families took Japanese Americans into their homes. During the 1950s and early 1960s, San Francisco's Little United Nations experienced a renaissance. Japantown, or Nihonmachi, was now a thriving Japanese-American neighborhood, adjoining a thriving black neighborhood. The two worlds collided at Post and Buchanan. Jimbo's Bop City was right next to one of the oldest Japanese businesses in the city, Yuoki Sakai's Fish Market. Judy Hamaguchi was a Nisei girl who grew up in a subdivided Victorian flat on Post Street, right next to Bop City. Despite the crowded conditions, she described Nihonmachi as a great neighborhood for a child to grow up. Hamaguchi said that Jimbo Edwards would sometimes help her and her toddler brother across the street to the Miyako restaurant, where her mother was a waitress. The Western edition was far from perfect. It had crime and drugs and high unemployment, and a lot of its buildings were decrepit and overcrowded. But for all of its faults, it was a living neighborhood until the city decided to fix it. The destruction of the Western edition was the result of a perfect storm of good intentions, unconscious racism, naivete, greed, and technocratic optimism. It was San Francisco's cardinal sin, and the city is still living with its legacy. Most accounts of the Western edition debacle emphasize the high-level planning decisions made after the war, but the die was cast during the war. The residents of Japanhound had not even been shipped off to Tanforan when city officials began worrying what to do with their run-down neighborhood. In April 16, 1942, Chronicle editorial headlined, Quick Action on Rehab of Jap Houses, read, Departure of the Japanese from San Francisco presents an opportunity that will not come again to lift the face of a dreary section of the city. And at the same time creates a danger of the kind we are so prone to neglect until now. A blight now, the 20 blocks of Little Tokyo will become an outright slum if left alone. What to do? There's the rub. The paper acknowledged the city had only limited options since the soon to be imprisoned Japanese owned as much as 60% of Jap Hantown. There matters stood for a year. Then the flood of black shipyard workers into Jap Hantown caught the attention of the authorities. In June 1943, the extreme overcrowding of the neighborhood led a city commission to investigate conditions. Its findings were alarming. In its story about the dire situation there, the Chronicle interviewed Robert Flippen, the respected black director of the just built West Side Courts Project at Bush and Baker. Still stands there. Due to racist policies, they were the only wartime housing projects in San Francisco open to blacks. Flippen told the Chronicle, "'I know of one place where 15 people live in one room, "'cook, eat and sleep there. "'They have no toilet facilities. "'For that purpose they go to a filling station "'or out into the street. "'These 15 or four families, they sleep and shifts. "'They are willing to live in anything "'and a certain kind of landlord knows it.'" The Chronicle reported, all participating in the effort to find a solution emphasized that it is not a racial problem but a social and health hazard that would be the same if the district were overcrowded with whites. Japantown was indeed severely overcrowded and city officials appear to have believed that they were simply taking urgent action to clean up a health menace. But there was cultural and racial topspin. The fact that the slum area had been first a Japanese and then a black neighborhood clearly led officials to view Japantown as a kind of urban cancer that needed to be cut out. It was only the war that prevented the city from wielding its scalpel. And when the war ended, the scalpel came out. In fact, the war whetted America's appetite for wielding the scalpel. It is no coincidence that urban renewal became a national policy after the war. If America could defeat the Nazis and the Japanese, why couldn't it solve inner city blight simply by destroying the inner cities and building new ones? There may be an unconscious connection between the strategic bombing that left Berlin a heap of rubble and the urban renewal that eviscerated America's inner cities. The federal government played a critical role in the nationwide campaign to remake inner cities. The 1949 Housing Act allocated $1.5 billion for urban renewal, defined as redevelopment of blighted areas. The federal government would pay two thirds of the cost of renewing such areas. In 1947, the city hired the respected planner, Mel Scott, a former journalist, to look into redeveloping the Western Edition. Located near downtown and with a politically weak population, it was a prime location for pro-growth forces. Scott's role in what was to come was heartbreaking. He clearly meant well. He was not a racist. In his 1959 book, The San Francisco Bay Area, A Metropolis and Perspective, he defended the black residents who flooded into the Western Edition during the war, saying that most of them were products of a social system that resolutely kept them in their place. He was one of America's first anti-spaul and open space advocates. And as we have seen, his 1961 survey triggered the movement to save the Bay. But Scott's report on the Western Edition was a product of the ignorance and hubris that marked urban planning at that time. And it sent the city down a terribly wrong path. His official 74-page report asserted that rehabilitation would not work. Nothing short of a clean sweep and a new start can make of the district a genuinely good place to live. A shorter version of the paper titled New City, San Francisco redeveloped, featured an illustration of a white couple standing on the balcony of a high rise looking out over the city. The text was hopeful, modernist muzak. It is a green city, broad lawns, trees, ample flowers form a setting for your 10-story apartment house. You look down on tree-lined walks and attractive spots for relaxation. The next page featured a ludicrously propagandistic double-page photo collage depicting the blighted old neighborhood with its death trap intersections and alleys in which juvenile gangs plotted mischief that sometimes ended in murder. Decaying Victorians, a wrecked car, a junk-filled yard, an overflowing trash can with a liquor bottle crudely drawn atop it and a building with cartoon-like flames painted on it form the background against which two vaguely Filipino-looking urchins look out in mute appeal.  Tatfully, no ominous black hoodlums are pictured in the report.  But the city had no plan to include minorities in the new city of space and living green. Noting that few of the quote colored and foreign-born families could afford to live in the new neighborhood, Scott asked the city to ensure that they would be adequately housed in quote, future projects. The key word and the one that revealed the limits of 1947 liberalism was future. James Baldwin famously said, "'Urban renewal is negro removal.'" In his study of the Western edition debacle, Jordan Klein correctly argues that it is too simplistic to reduce the entire complex movement to that motive. But as he also correctly notes, in the Western edition, urban renewal was negro removal by design. On June 3rd, 1948, despite resistance from black and Japanese-American residents, the Board of Supervisors declared the Western edition a blighted area and designated it for redevelopment. The San Francisco Redevelopment Agency was duly created in 1948, but for 10 years it did almost nothing. Then in 1959, Justin Herman took charge. He was the man who was most responsible for urban renewal, and ultimately negro removal in San Francisco. Herman was a dynamic politically connected leader who made things happen. The city acquired the properties in the area by eminent domain and began bulldozing them. In 1960, Gary Boulevard was demolished and work began on the enormous Geary Expressway. This third great transformation of the Western edition turned out to be the most catastrophic of them all. Redevelopment was supposed to be a win, win, win. Corporations and real estate interests would grow. The city would increase its tax base and clean up blighted areas, and the neighborhood's residents would be compensated for their losses and relocated in better housing. If the third part did not happen, the whole endeavor would be a failure. As Herman himself wrote, without adequate housing for the poor, critics will rightly condemn urban renewal as a land grab for the rich and a heartless push out for the poor and non-whites. Herman's words turned out to be prophetic. There was no adequate housing for the poor because the planning for it was fatally flawed from the beginning. Klein lists the five critical mistakes. First, the destruction of housing units was not phased. Thousands of units were demolished and new housing not built for years. As a result, by the time housing was available, the community had scattered. Second, the redevelopment plans relied on invalid, overly optimistic predictions of turnover and vacancy. Third, the income of the displaced people was overstated. Fourth, the planning ignored segregation and racial covenants. And fifth, it relied on SROs as replacement housing, but no one wanted to live in SROs. Facing the destruction of their community, the residents of the Western Edition organized. In 1967, a coalition of progressive ministers and community leaders, including black leaders like Hannibal Williams and Japanese American ones like Yoriwata formed the Western Edition Community Organization, WACCO, to try to save their neighborhood. They picketed the SFRA organized and blocked bulldozers. WACCO won some legal battles, managed to delay redevelopment and got additional housing built, but it was too late. The battle was lost. By the time the bulldozers fell silent, 883 businesses had been closed, 20,000 to 30,000 residents displaced and 2,500 Victorian houses demolished. Most of the displaced people left the neighborhood for good. The old racially mixed neighborhood around Japantown was trashed. The Geary Expressway, designed in part to carry commuters to department stores on Masonic that no longer exist, although a target just opened there, was not only an ugly gash, it became a Berlin wall separating blacks and Japanese Americans. The corporate Japan center gutted Japantown with the exception of old people, few Japanese Americans live in Japantown today. And what happened to Fillmore Street was worse. The heart and soul of black San Francisco was torn out. The loss only exacerbated a crisis fueled by unemployment. The demise of the shipyards and the disappearance of construction jobs forced blacks to look for work and service and tourism where all too often they face discrimination. It's the same old loaded dice for a Negro in San Francisco, said a Fillmore resident. They just sugar them up a little. As the big housing projects built in the 1960s, they proved to be far more efficient petri dishes for growing crime and social pathologies than the crumbling old Victorians they replaced. Minis Kandu Club, the last of the great Fillmore Clubs, died in 1974. Much of the Fillmore stood empty until the 1980s. Only one of the original businesses on Fillmore remains, the new Chicago Barber Shop at O'Farrell. Its proprietor, Reggie Pettis, coined the phrase Fillmo No Mo. The phrase could apply both to a neighborhood and a community. There are fewer and fewer blacks in San Francisco. Late one summer night in 2011, I walked the entire length of Fillmore from Geary to Haight. I saw only one black person. Trying to make amends for the past, in 1995, the city created the historic Fillmore Jazz Preservation District in the heart of the old Fillmore. In a well-meaning attempt to revitalize the area, the city poured $15 million into loans to launch four jazz-themed restaurant and clubs, including a swanky San Francisco branch of the great Oakland Jazz Club Yoshis. But it hasn't worked. All four businesses have had to go repeatedly back to the city for more money. They're too expensive for the black residents of the area and not enough newcomers or non-residents are coming in. The peculiar sterile vibe of this stretch of Fillmore with its high rises and empty public spaces doesn't help. But the real reason the jazz district is a failure is simple. Jazz isn't popular. Yoshis was losing so much money it had to start booking non-jazz acts. The whole enterprise reeks of artificiality and museum culture and guilt. As the Victorians crashed to the ground across the Western edition, architectural preservationists and historians began cataloging them. A number of the most significant buildings were saved, but most were destroyed. In the late 1970s, the Victorian at 1690 post was slated to be razed as part of the Japan Town renovation. But in another attempt at rectification, the redevelopment agency decided to make it part of a city subsidized retail development called Victorian Village. Along with five other buildings, it was moved two blocks to where it now stands at 1712 Fillmore. There can be no happy ending to the tragedy of the Western edition, but there was one for the haunted house. The building that once housed Nippon Drugs and Jimbo's Bop City is now home to Marcus Books. Not anymore, but this book was written a year ago. The oldest African American bookstore in the United States. I walked in there one day. The proprietor, Karen Johnson, was sitting behind the counter. She was a distinguished looking black woman with a short gray afro and the sardonic dry wit of a book person. I asked her about the building's history and what she knew about Bop City. My parents started the store in the 1960s. She told me in a soft voice that was at once steely and rye. Dr. Julian and Ray Richardson. Ray Richardson was the head of the black studies department at SF State. It was one block up from here on Fillmore. My dad was a friend of Jimbo's. He used to go hear music there. We talked briefly about the redevelopment from the redevelopment fiasco. Johnson's contempt was glacial. The store was in various locations during redevelopment, she said. It was at Fillmore and Turk. Then we moved to Leavenworth and Golden Gate. There was a community groundswell to bring our store back to the neighborhood. Our family bought this building after it was moved. It had stood empty for seven years. They butchered it when they moved it. They messed up all the plumbing, stole all the Victorian details, the fireplaces. We've been here since 1981. We're the only black business that returned to the Fillmore. I asked Johnson where the famous back room that hosted the After Hours Club was. She walked around to a table of books that stood in the center of the long narrow room. All of this was the back room, she said. The restaurant in front was an add-on. She picked up a copy of Harlem of the West, the book with the amazing photograph of John Coltrane on the cover. This picture was taken right here, she said. Isn't that the coolest thing ever? We stood there for a moment, seeing the ghosts. I said goodbye to Johnson and walked out onto the street. It was still a scattershot scene. A Burger King and a senior housing place stood across the road. A handsome Indian restaurant was caddy corner from a Goodwill store. I turned and looked back at the old purple building. It had been through most of San Francisco's history. The light hearted 1890s, the great earthquake and fire, the little United Nations days, when kids of all colors went to the same schools and lived on the same street. The decades, when it was the Nippon drugstore, run by a well-dressed man named Hatsuto, later James Yamada. The Voote City interlude Orooni.  The years, when everything around it was torn down, the day it was jacked up and moved. The years, it stood empty. And the 32 years, it has been a bookstore owned by a family who remember what needs to be remembered. I walked over to Geary. People hurried down the sidewalk. The traffic roared underneath. Like a great river, the city flowed indifferently. Thank you. Ooh, that was long. Hope I didn't go on too long, but it's a long, long and complicated story.


You have heard about this before. Web developer. Following the internet boom and now smartphones getting into the hands of just about everyone, the need for web developers has grown exponentially. With so many different specializations out there when it comes to coding, every skilled web developer counts. Hello and welcome to Starita. If you are good at writing long lines of codes and can use that skill to develop websites, the gig economy has a place for you without you needing to work a 9 to 5 shift. Quite simply, anyone who can build and maintain websites is a web developer. As technology has progressed and new innovations have come about, the job has continued to require more and more knowledge to stay relevant amid the competition. That great user experience you got while visiting a website was created by an individual or a team of web designers. Firstly, you need to be aware of markup languages such as HTML to be able to write web pages. Just having the basic know-how of these languages isn't going to serve you if you plan to take it professionally. And so, you need to keep experimenting and creating markups. As a web designer, you need to have the know-how of two key things. Frontend, which involves the end user interface and user experience. And backend, which has all the servers and databases. If you are good with both, you can offer full stack services that is from backend and frontend as an entire package. To be a web developer, you need to be good with HTML, CSS and JavaScript. HTML or Hypertext Markup Language is one of the most frequently used frontend languages. It essentially gives this structure to the website. CSS or Cascading Style Sheets basically makes the website look pretty. Considering only HTML would look pretty basic. JavaScript is especially important to learn today as it would help you add dynamic elements such as graphics and interactive to your web pages. There are other things to learn as well including SQL and PHP which would help you get more gigs as you go along. While you may not need to be an expert in designing, you must learn the basics of design to be able to build a good looking website for others. Since you would be responsible for the UI and UX, it won't be a bad idea to test the different design tools that Adobe has. Once you are confident of your abilities, build a portfolio website for yourself. And since you are now a web designer yourself, you wouldn't need to look too far. Make the website which in itself gives a different experience giving potential clients an idea of what you are capable of. Inside the website, use experimentations you have done earlier to show them different skill sets. There are plenty of websites such as Freelancer and Upward where you can search for gigs and showcase your skills. With each gig you get, make sure to get testimonials from the clients and demonstrate that as a validation of your skills to advance more clients. Apart from the obvious investment in a heavy-duty computer system and internet connectivity, there isn't a lot of investment required for this. A good computer system can cost upwards of Rs. 70,000. Apart from that, you would need to spend a bit on the Adobe tools. The full stack of products will cost about Rs. 3500 a month in case of an annual plan. You might not need all the tools and so you can pick and choose to reduce this expense. A good internet connection will cost you about Rs. 1000 per month. In terms of earning, you can charge per project. As an amateur building a simple website, you can start off by charging upwards of Rs. 2500 per project and increase the charge moving up the ladder as you go along. Web development is a much-wanted and lucrative skill set and so if you manage to master it, there's a lot of money to follow. Hope you like the idea and for more such ideas, log on to www.entrepreneur.com.


Hey what's up folks, welcome back to another 3D Hangouts. My name is Noah Averwes. I'm a designer here at Adafruit and join me every week as well as the Pedro. Good morning everybody. I'm Pedro. I was creative tech here at Adafruit and every week we're here to share 3D printed projects featuring electronics from Adafruit. That's right. This is where we combine 3D printing and DIY electronics making inspirational projects for all of you folks. Hello everybody. We're hanging out in the Discord chat room. We want to give out some chats to everybody joining us during the live show. If you would like to join us during the live show, you can do so by heading over to discord.gg slash Adafruit and we're in the live broadcast channel. Give it a shout out to Mr. Certainly Bruce is hanging out. Hello. I hope you are doing well as well as everybody. I hope they're all doing well. Yes, we got everybody hanging out in the Discord, YouTube, Twitch, LinkedIn and Periscope Additional shout outs to Patrick Ranskin, Quentin, Xbox Gamer, Unicorn, Donut. Mmm, that's delicious. I want everybody hanging out in all of the chat rooms. Unicorn flavor is the best flavor. All right. Well, as you folks join in, we'll say hello to you. I'm going to try to go a little quick here. So let's jump right into what we're doing. We got freebies. So head on over to Adafruit.com slash free to find out all the details. If you scroll down, you can see all the different things. We're still got 100 days of masking going on, a few days remaining in this kind of campaign. So any orders you get from Adafruit, you get that black surgical mask. Very, very nice. And some other goodies that I will omit from now because we got a lot to cover. Yeah. And my audio stuff. All right. So I have that. Circuit Python meetings happen every Monday at 2pm Eastern time. So folks want to check in with the community and the core devs on Circuit Python. You can tune in on the Discord server every Monday at 2pm. It gets posted as an archive on YouTube and a lot of different podcast players as well. So you can check those out in your podcast choice player of choice. Adafruit has a jobs board. Check out jobs.adafruit.com as employers are posting up things and makers are posting up their profiles. It's free to do so. And you can go to jobs.adafruit.com to get started. We have newsletters that are going on once a week. It's focused on products as new products get added to the store. This newsletter goes to your inbox. So if you want to subscribe to that, head on over to adafruit.com slash newsletter. And if once a week isn't enough, you can get a daily dose of Adafruit posts, stories, what have you, go to adafruitdaily.com and check out all the categories that might interest you such as Circuit Python, that's Python on hardware, IoT Monthly, or is it weekly, I think it's IoT Monthly, 3D printing, biohacking, and more. So check out adafruitdaily.com, cool, it feels like a real show with all the intros though. All right. I'm going to go back over here to the Discord and shout out to Bruce for posting all those lovely links to all the things that I just chatted about. Good morning, Liz. Sweet. Additional shout out to our man VP, I am Jason H, DCD, Minnesota, and Tatt, Susan. I think you're all joining us today. It was a little rough morning, but we're in, you might hear some hammers and things, but it's fine as we have a little bit of a kitchen demo downstairs. All right. Let's go ahead and jump into this week's project, which is sort of a redo-blocking. Yeah. This week's project is already in the back. It's integrated into our shelf here. So this is our 32 by 32 pixel display running Circuit Python. It's using the new Feather RP2040, and this week we just want to talk about the Learn Guide. The Learn Guide came out on Friday, and let's go ahead and kind of jump into not that, but this one. This week's project. This week's last week's? That's funny. It's like nothing. No, it's here. It's the Learn Guide for that 32 by 32 matrix display, which is in stock right now. We're really nice. The Feathers are not in stock, so if you want this RP2040 Feather, please sign up. You can pop your email in here and you'll get notified when they're back in stock. If you really want to build this, you can use any Feather. The code in the Matrix Library for Circuit Python will run with any of the Feathers, notably the M4, the M0, and the NR52840. But be careful with the NR52840 as you need a special NR52840 Matrix Feather Wing. That one was the specific design for those pens.  Black Lady Acrylic is another kind of secret sauce that makes this thing look really good. Yeah, so all that's kind of linked here. We have some more reading. If you want to dive deeper into the Feather RP2040, there's a Learn Guide that's dedicated for that. And there's also a dedicated Learn Guide for making projects in Circuit Python for RGB matrices. And that's a guide by Jeff Epler, who is one of the co-authors of the libraries, the ProtoMatter libraries. So check this one out if you are making some custom projects with the Circuit Python and RGB Matrix stuff. Wonderful. All right, so those are the parts. Most of them are in stock, which I'm happy about. And now let's go to the next page. Now normally with these Learn Guides and Project, we have a Circuit Diagram. There's no Circuit Diagram for this because it's all Feathers. You literally just plug them in. So that's cool. But let's take a look at the CAD files. So the CAD files page shows you all the CAD files. There's only five of them, right? There's some feet. There's a frame, a grid, and a cover. They all snapped it together. This one requires a minimum build volume of at least 210 by 210. That's going to be your kind of, I don't want to call it average, but your tip is not even common. A Prusa i3 has a build volume of, I believe, 210 by 210 by some X. It doesn't matter on the X, the Z rather, because it's not that tall of an enclosure. But anyway, you do need a fairly large build volume to print these parts. So the STLs are available. The CAD source file is available as a step file. So if you're using something other than Fusion 360, you can import the step file and get all the original sketches and models. But if you do have Fusion 360 and you want to tweak some things like the tolerances or the pitch spacing for the pixels, you can modify it using user parameters. You can quickly adjust some of the parameters. So that's what's in the Fusion file. And then what helped me cut out a very accurate piece of acrylic is this PDF template. Just a note about the PDF template. Make sure when you print your PDF template that your scale is set to 100% because I made the mistake before of printing my template with an auto scale where it scales to fail. It shows you how to install CircuitPython on your board. You want to have the latest version of CircuitPython, so that's why we always have this up to date. And it's a reoccurring page that gets updated when things get updated. But the same song and dance, you hold down the bootloader button as you plug it into USB. It shows up as a boot drive. You drag and drop that UF2 file and it automatically reflashes as a CircuitPy drive. And the RP2040 has 8 megabytes of spy flash. You can toss in all the libraries. But this is something different. So let's go over to the code page. This is the first project where we're reworking these pages so that they are guiding folks to get the project bundle. So before we'd have another page that was standalone that talks about installing libraries. And that's like this huge kind of ordeal. But now it's all in this project bundle. So as you click and download the project bundle, it's going to grab all of the libraries and dependencies dynamically, which is awesome. Huge shout out to the team for making this work. This is going to solve lots of issues, we hope. So this is the first guide from us that has the project bundle. So it's like, download the bundle and then drop all your files in. No third step, which is great. So here's what it looks like with all the libraries that it grabs. And it even comes with the bitmaps. Now these bitmaps were designed for a 64 by 32 RGB matrix back when the matrix portal was happening. So this is using that same code, same assets. But because the display is 64 by 32 and not a 32 by 32, there is a small piece of code that you have to update. And if you scroll down, you can see what it is.  So the width of your display gets specified here in this block. And that's pretty much it. There's also some built-in button support, particularly for this kind of slideshow player, I guess I could call it. There are two buttons to advance, but we're not really using them. If you'd like to use them, these are the pins that I've specified. And these pins will need to be changed depending on the feather you are using. These pins will work okay for the feather RP2040, which is kind of like the main thing for this project. But yeah, it's pretty straightforward. Project Bundles is hopefully going to be a thing that everybody uses going forward. So I hope that makes things a lot simpler. So you don't have to chase down and do this manual dragging-dropping of the individual libraries that are needed for this. Just down on the Project Bundle, you got all your stuff. What do you think? It's good. Incredible. Very good. Let me catch my breath. Okay, cool. All right, let's go to the next page, Sprite Sheets. So you do get these bitmaps when you download the Project Bundle, but those are bitmaps specified for 64 by 32. They will play on here, but they won't be like, you know, cropped properly. They won't be cropped properly. So I have provided you some Sprite Sheets. They're a little bit of a gray area when it comes to copyright stuff, artwork for these memes. Please don't sue me, but I will take these down if you tell me to. The person who has made Night Long Cat and Pirate Parrot. I'll take them down and just tell me. But I have kind of handcrafted these so that they fit a 32 by 32. So you can download these bitmaps. Don't sue me. Those are the only two I offer, because obviously I don't have the rights to these Sprite Sheets in the back there. That's Mario. Well, maybe somebody made that one. I don't know, but I'm not going to give that one out. But you can kind of create your own. All right. Hey, what's up, folks? No. Let me fix this real quick. Our audio has been up and down, but we got it back up. Let me go ahead and fix this Safari Sprite Sheets. We're really going to Sprite Sheets. And here we are. All right. So back over to the Sprite Sheets. Really great guide by John Park with some extra bitmaps if you want to get these. This is a good like walking animation if you want to get that going. And definitely check out that A Sprite app. Really, really good. I recommend it. That's how I created all of my Sprite Sheets. It's a great way to kind of, you can pull some artwork down from the Internet. It's a GIF. And then you can use this to kind of make it into that exploded film strip in the bitmap that you need, in the format that you need. So very, very cool. It has a little video of like showing the conversion process. It's a great job. Good resource. This whole guide is a great resource too on the Matrix Court Library and the artwork, pixel artwork. All right. But back over here into our Project Learn Guide. You can get those two lovely Sprite Sheets. And the rest of it's going to walk you through sort of the assembly. So setting up the headers for your feathers is very particular to this setup. So I'm doing it where I feel like this is the most mechanically stable approach to these feathers, headers set up. So we're using male headers here for the Matrix feather wing and the RP2040 feather. And I'm showing here that I'm using a breadboard to help me keep the headers on straight while you solder. That's sort of my trick whenever I'm soldering strips of headers to a PCB. I tend to use my breadboard because it keeps those things in place nice and flat. Cool. So I walk through installing the extra little header bits for the RGB feather wing. It's very kind of particular in this order where the IDC box headers fit it on top as opposed to the bottom. But yeah, that walks you through that. And then it walks you through setting up the feather, doubler. So you're setting these up with these female socket style header pins. And there's no circuit diagram because like I said, you just plug them in. You can't plug it in the wrong way. You can just, it's keyed that way. That's why there's a 12 and a 16 pin. Good job. Good job. Good job. That's the best. You might already go down again. There you go. All right. And then, so that's setting up the headers. And the last bit is just kind of using these standoffs and screws to attach the doubler to the 3D printed frame. That's that purple thing here. So that gets secured there with these standoffs and screws. And then these feet, a bit of an optional thing. It should stand up okay, but it tends to tip over if you like look at it too long. So you got these two feet with some hex nuts and some M3 screws. You can attach them to the bottom of the frame. The bottom of the frame has these recessed spots dedicated for these M3 hex nuts. And that will kind of capture and keep your feet secured. You could also glue them. And then this walks you through installing the acrylic sheet into the cover. And then the grid fits on top of your RGB matrix. And then the RGB matrix PCB gets fitted into the frame. And then we can connect all of the other power cables to the matrix feather wing with the little screwdriver because it has screw block terminals. And the other end just connects directly into the power port on the back of the 32x32. And the IDC cable plugs into the top IDC header of the RGB matrix feather wing and plugs into that hub 75 connector for the input of the display. And then you can plug in the power. Super cool. Definitely check out the YouTube video as well. It really walks through cutting the acrylic and something else that I... Oh yeah, taking apart the themed artwork throughout the seasonal change-out of these little bitmaps. I'd love to see the new Neo characters on here. Maybe we can work with Bruce or something. Yeah, all the new trinkets. That'd be sweet. So you're just going through some of the comments here. Shout out Tyler and Lauren. They're crushing it right now on these new super secret stuff. I can't tell you about it. I don't know if Lamarfield has shown it off yet. Or maybe Brent has shown off the dynamic components. It's too new, man. It's going to be so cool. Only one other soul knows about it. Ah, the whole dev team knows. Oh, you mean outside of that? Outside of the dev team. Is audio out again? Someone is asking. No, no, no, no. It should be fine. Hello? No, you're good. Yeah. All right. Well, are we ready for the lemon? Yes. Everybody is wanting lemons. I want to read the comment from, was it Quinton who asked earlier that he's here for the lemon life again? Yeah, sure. All right. So this week we're prototyping a lemon because life just keeps giving us them. So yeah, I was talking about the, yeah, I was talking about the kale switches.  There we go. So yeah, we have the kale switches now in the Aether Food Shop. And these are the white ones. These caps can be switched out and stuff. Trying to get my train of thought back here. But yeah, there's, this just kind of... Assemble it and then we show the whole thing again. My caps are all coming off. Yeah, I still work it on it, right? All right. So QDPie, RP2040, really nice board. This is a jewel with seven neopixels on it. And they all snap fits. It's all 3D printed. Let's plug it in. Not a good idea to plug it in, but I'll do it anyway. Just to kind of see this thing glow because it does have that LED animation. And it's not working. That's fine. I may have broken something or... There it goes. Cool. So it looks great with the, you know, translucent white material. So I'm going to use it as a media controller. So, value, mu to play, pause, forward, that sort of stuff. I don't want to press it because it will actually do that. But yeah, it's using CircuitPython, HAD library, which now has consumer controls, which is mu to play all those media controls. But you can make it do whatever you'd like. It just kind of fits like that on your desk. It's yay big. And fruity flavors, right? Yeah. So Lamar had the suggestion to do a hamburger one. It was a pizza. Pizza. With arcade buttons. This came out a couple of years ago. And I've been meaning to do some sort of fun keypad. This is probably my second custom keypad. The first one I did was a Cherry MX PCB that I milled. And it was like a feather wing. This one's no custom PCB all 3D printed. And in my opinion, it's a little bit more practical and a little bit more flavorful. So that's the LEMON project. Our audience is still going. Wonderful. Yeah. Best Ape is saying that the LEMON looks like their buddy's Artifone or Ba. Or Ba. Yeah. I've not seen that. Yeah, that's Artifone. It's a little, it's like a little synthesizer. Yeah, you can make this a MIDI controller, I suppose. With the Stem EQT connector, you can plug in an accelerometer really easy. Or any sensor really. A display if you wanted to. You can do so much stuff with the Stem EQT. This board is amazing. The RP2040. The Dolcor M0. Circuit Pi like eight megabytes of flash all. Take a look at this chip, man. This thing's bananas. So I kind of come up with this 3D model of the of the new QT Pi board. And man, it is dense. Look at the back there. There are these small resistors that, you know, you've got to consider them when you're designing a case where this is going to snap fit. You can totally break these pieces. So that's why I had to come up with the model of it. Because I kind of did break one. Don't tell anyone I broke one. Especially my boss should get mad. Quinton's asking for the files. Once they're finalized, they'll be released next week. Yeah, next week. This is going to be the next week's project. Hopefully. Maybe not, actually. Let me link where all of these are actually posted before. Yeah. It's the GitHub for the learning guys. Yeah, you can get the 3D model of the QT Pi board. I kind of had to pull the side of the private repo, but it's all good. It's Catney Rambois working on the learning guide for this one. So the learning guide is in the works. The fritzing object as well is in the works. This lemon kind of forced me to do the 3D model first. Normally I waited a week or two after the things released. And yesterday on John's show, we sold like 70 of them in like two minutes for a ridiculous price of like $4 or something crazy. So if you got one of those, save it for the lemon. That'd be great. Make some tasty lemon there. Yeah, man. Or an orange. Or some lime or something. But yeah, the RP2040 sign up for that when it gets back in stock. And for a buddy who got one, check out circuitpilot.org and download and install the latest version of CircuitPython. It doesn't ship with CircuitPython, but it does ship with the boot loader. So you just hold down the boots to the like button and plug it in. Yeah, USB-C. You need to get more USB-C cables. Liz is requesting a watermelon. The watermelon would be a separate project. The watermelon gun, yeah. But yeah, maybe we do watermelon too. Oh, then Alvaro is saying that if you could rotate the top, that would be awesome to double as a rotary encoder. I think some of the wires would get twisted. Yeah, there's some things that we could do. Like if we were to mount these guys to this plate, then you could dolly twist it. That's a cool idea. That's a good concept. I thought about that too. Like I wish I could do more or like a turn it or something. Another output. Yeah, so I would leave that for folks. I really wanted to keep it simple. This is even too much for me. The original idea was Lamar wanted a whole PCB mill out. And we didn't want that to be yet another barrier for people being able to build this. This is way more easier. I originally had the Feather RP2040 in here. And with the Feather, you have a built-in NeoPixel. So you didn't have to wire any NeoPixels. It was already built in, but this is what you got. You got a jewel. It's got more LEDs. So it's good. And it's USB-C. It's a QDPI. The Feather was a bit overkill, you guys. It has built-in LiPo charging and all these extra pins that I'm not using. So the QDPI is just the winner for this one. It really works well. I really like this cut out here. It looks so good. A little cut out there. It kind of sliced a little bit of the lemon out. But yeah. And then Alvaro is pointing to these slip rings with the flange that we have in store. They allow you to twist the wires. So maybe. Good for posting to Alvaro. There you go. You got some options here. But cool. No supports. They all print with no supports. Pick whatever color you like. That's fun. Then Yanni is a great GIF here of using a lemon to recharge your phone. Oh, that's funny. It turns color. It's great. Yeah, it should print it all in white. It kind of changes color. Fruit color. Fitting on your mood or something. So that's this prototype. So you can do that next week. Nice little segue on to last week we showed the update to the RP2040 QD Pi. We had to update the little Lego holder because of the bottom here is now flat compared to the other, the non-RP2040, the standard one. Just because of the bottom there when you have the SPI chip soldered on which you kind of need to have if you want to have all of the peripherals attached to it. It'll quickly run out of memory if you don't. We had to see these little studs in there to make room for that. All of that is built into the RP2040 chip in there. So it is nice and flush. So just some updates to that and makes it a little bit more slimmer if you want to make a nice little Lego compatible little prep board for your projects. Just snap it like that. And we also made them for the RP2040 itsy bitsy too. This guy just slides in. I think this is the first one where we utilized something where it just slides in. And same deal here. Just the 2x3 little stud setup. And we also have the ones that have the 2's if you want to have that attached to the back. Nice way to instead of if you don't want to go with the bread board you can go with the Lego baseplate. It's got some weighted stuff. Temporarily cold stuff together. So this will be next week. Yeah, hopefully. We'll try. Yeah, we'll try. Yeah, I love the clickiness. You have the, what are the switch types? It's the clear. These are Cali box white. Which are the clickiest. The other ones don't make any click. So I didn't even bother with it. There's grounds that has a little bit of a bump but they're not audible. Do we have blue ones? Yes we do. There's a product link that shows all of them. Oh man, it looks like the audio is going up and down. It's back right now. It's just up and down. What's up and down? Just the audio. No, you're good at it. I know, it's good now I'm looking at the levels. So, yeah, so this page will show you all of the colors that we have. Lars has somehow Yeah, Lars has made it over here to Florida. He's like, what's going on here folks? I hear you have you have some stuff down here in Florida. I think at Lars You back there. We need a GIF. I know, I need a Lars GIF. The Matrix. All right, well, those are the Cali switches. Pedro has a link there. We're going to try to go to the next segment here. Yeah, Shop Talk. Some of the other Shop Talk stuff that we were looking at Ninja Tech. We love all of their Ninja Flex stuff. There were a lot of the builds. They released a new Chinchilla Ninja Flex. It's a 75A which is super soft. It's supposed to be for wearables and medical devices for sports and fashion. The difference is that it's just a lot softer than the 85A material that they have. So, I thought I'd test it out on this. Some of the buttons here that we have on the Pi badge. Of course, we'll go ahead and play some Super Mario. I forgot you could do that. So, a couple years ago we made this nice little case that encloses the battery on the back. It lets you add the speaker and a slide switch so you can have the audio go low and high. It's a Pi badge. So, you have a nice little hook if you want to use it as a lanyard. Of course, you want to use it as an NES emulator here. So, as you're pressing the buttons you can immediately feel that they are way softer than any of the Ninja Flex materials from before. It just feels really nice in terms of when you press down on it, you can just feel the smoothness from it. It's a comparison between this guy and what we used before which was the 95A. The standard Ninja Flex TPU works on, like, Bodens, a large variety of printers.  You're definitely going to need a direct drive if you want to print with this material. Some of the things we noticed when just, like, feeling it feels like it leaves behind some sort of filmy texture. It should be okay on their website. It says it's been certified for medical... So, like, when you put on gloves and you pair of latex gloves, it has that powdery thing. I can't physically see anything that rubs off on it. But it's, like, super soft. Let's keep going. You got a unicorn. A unicorn that we printed with that as well. It, again, just feels very nice. Like, when you're using this for wearables, if you have something that's, like, up against your arm or whatever, it'll definitely feel a lot more like it's pressed up against skin. That's actually one of the use cases they were saying for, like, the open... What is it? Yeah, let's look at the site. It'll tell you what it's good for. So, they worked hard to get their certification for skin-safe. So, tested to be skin-safe using Epiduram skin model. I'm not sure what that is. We'll look at it. There's a data sheet and stuff, but it is supposed to be, like, certified skin-safe. So, they're really pushing for something that has skin contact. So, remember those Apple Watch bands that I designed a little bit ago? You can do that. Remember, Pager's Apple Watch anything? That's Chinchilla. This feels really nice. Yep, no, that's basically it. It's just a very nice, softer feel. Chinchilla. It's new. It came out yesterday. 75A is the heart shore hardness. That's the measurement for how hard or soft it is. Regular Ninja Flex 85A, right? 95 or 95. 95A is called Armadillo Cheetah. Yeah, that's actually... They call that one 75D. But that's not A. It's more rigid. It's rigid. Come on, I gotta speed this up.  They only have a couple collars. Get the 0.5 kilogram if you really are serious about Ninja Flex. If you're not serious about Ninja Flex, this is just news. It's probably... I don't think it's worth while if you're not already 100 bucks for a full kilogram. So we went with the half a kilogram. We still have a whole thing of it. Yeah, the shore hardness that I recommend for playing around would probably be the 95A. Yeah, they have some of this. This normally isn't... This is just a baseline for us. 240C is normally what we print at. And the sprint speed's gotta be pretty slow. So... Yeah, it just feels really nice. Especially when you're gaming for long periods of hour. We're gonna play more with it. There was this weird thing that Pedro pulled on the filament and it did not go back. It stayed pulled. You can watch the videos on how it's manufactured look like.  Like the FOMI type stuff. Well, their website Ninja Tech, I think it was their YouTube. Okay. Here's their homepage. Kind of has a little banner about it. Chinchilla 75A. They have this cute little Chinchilla mascot. Who doesn't like a Chinchilla? Yeah, the video shows they made like shoes out of it. Like... Well, it ain't on the product page. Oh my goodness. They should at least link their YouTube video. We're one of your resellers. Tell us you're doing things. Sorry. Moving on. Chinchilla and chill. Alright. We're gonna do community makes now. Are my audience still working? Alright. The first one is a multi-pass. This one is so cool. It's a really cool themed way to show off your vaccine card. So, tell us about it. This is inspired by Fifth Element, which we recently re-watched. It holds up so good. Yeah, man. It's a good movie. So, this is a remix from... Alright, so we got the... Alright, so this week's community makes is this awesome vaccination card holder. This is inspired by Fifth Element. Somebody re-mixed this from a conference badge. You have this nice little lanyard thing you can attach to. You got your holes there. And this is size for the 4x3 size cards. This is not the actual one. I just printed this out so I could blur out all my information. And, yeah, this is a nice way to store your card. You're definitely gonna need for traveling around. So, when we go on a cruise or something, I will be bringing this and showing it off like that. Of course, you can add more details and colors to match what it actually looked like on Fifth Element. I think it's supposed to be grey, but we printed these in orange for Lamar and Phil's request. So, awesome. Yeah, Lamar and Phil will be showing theirs off. Yeah, really look at the design of this. They have this little hole on there and this little thing that snaps right on there. Like that, so it'll hold it in place. And, yeah, pretty much it. Three pieces. You do have to glue this top part onto the base just so you can not use support materials. Oh, great technique. Splitting parts, yeah. My favorite things to do for re-assembling through-print parts. Some folks say you can use the ironing feature in their Prusa Slicer to make this more kind of flat. I don't think Pura has that, so that's why we didn't do that, but that's one of the things they saw in the comments. Yeah, they're asking if that is ironed. It is not. Yeah, good test for that. Yeah, so on Thingiverse, the person who made this level 2 3, level 3 2, can you verify that? Yes, it is. That's the remix. Yes, I am still, here we go. Yeah, so she tweeted this out and Phil saw this and was like, you'll send me 3, please. Yes, yes, level 2, 3. Yeah, so shout out to you for coming up with this one. And you can go down the rabbit hole of all of the remixes. There's different sizes, as we were saying before. Triple remix, this is a multi-pass badge holder for your conference badge, which was a remix of this one. So there's three levels of remixes here, level 2, 3. Now, so Immurman came up with this one and it's sized for something different, but it looks like it was created in TiggerCAD, but a little bit more color here, so that's cool. Is there audio cut again? No. So you can download this one for free, search for multi-pass and you'll find the triage of remixes. But very cool. And shout out to level 2, 3 for remixes in that one. Well timed. Okay, let's look at the next stuff for community makes. That's really cool, makes from around the globe a lot of... Real quick, I want to show level 3's original tweet, has good photos and stuff, so you can check out level 3's kind of thing here. And some other folks are chiming in, like, hey, you can paint it to look really, really cool. These are like some silver things that I suppose it's one way to paint them, it's a good way to paint them. Very cool. And of course everybody is posting the multi-pass, gifts in the chat. Yeah, good movie, recommend it. Cool. Okay, everybody's cards. I feel kind of guilty looking at everybody's cards. Alright, well let's move on to... I like how they put the masks on them. Moving on to some really cool makes from around the globe. The first one is this really cool, Guardian Sword from Breath of the Wild. This was posted on the Facebook group for 3D printing. Highly recommend that one. Lots of cool posts on a lot of makes there. This one was for The Beatles. Oh wow, awesome. And there's a video to go along with that if you want. To search for that. And that one's by Bran, thanks Bran. That's really good. Next one is a Keyblade, same group, or different group, the creator cruelty group on Facebook. Almost done, that looks done to me. Maybe the chain. Fantastic. And this is from Daniel. Awesome, excellent. And then the last one here is from Favio, who posted up their make of the Pico Mini Fighter. That's great, like the color. He has a flicker link as well that has his build. Really good choice of colors. Excellent. Well that's going to do it before our audio cuts out. We want to thank everybody for joining us and we'll be show and telling tonight I think. But let's say hello and goodbye to everybody on Discord. We wish you guys tuning in with us live and dealing with our audio issues. Thanks Warcast. Thanks Warcast. I got an update and I just don't want to. Let's go to the housekeeping. Okay, later tonight. Show and Tell 730, hosting PT and Lamar will be hosting. And then after that at 8pm is asking engineer we got some new stuff, new products, top secrets, Python hardware All the news around the world, everything going on with all the cool electronics you guys know and love. So definitely stay tuned for that. And then tomorrow is John Park's workshop. Yeah. Showing off a ton of really cool projects that he's working on, gearing up for the next 8 o'clock. So definitely tune in every week for that. And then on Fridays, Deep Dive with Scott 2pm last week was the one year anniversary. We're out into one year and a week. Excellent. Lamar's live stream start on Sundays from the desk of Lady Aida. Featuring the great search with the cheeky every Sunday at Random Hacker Times. From 9 to 10. 9 to 10. It's pretty consistent. Yeah. And then repost it on all the socials and everything so you can catch up on that. Yes, yes. And then Tuesday, that was yesterday. JP had a massive one yesterday with the RP2040 QTi. Tune in every week for all those awesome deals. Get like half the percent off on whatever product is being reviewed. Definitely tune in every week for that. Let me know if I should start doing like crazy reactions. I got the eyes for it. So let me know. Alright, that's going to do it for us. Thank you for joining us. Thank you for joining us and dealing with our little issues here, but hey freaking lemon. Wire cast. It's like a flavorful lemon. Here you go, wire cast. I was like quit. That'd be a great camera switcher. Alright folks, we'll see you later tonight, but until then, remember to make a great day. Make a lemony day. Bye folks. Oh, this one. Later.