Browse Category: Culture

The Psychology of East Coast vs. West Coast

As my readers know, I am originally from the East Coast but was living on the West Coast for the past 17 years. I returned to the East Coast this summer to be closer to family, and although it’s my home, it is taking some getting used to. It’s been a big readjustment going from California to Pennsylvania, and not only because any big change is hard–there are some real cultural differences between the West and East coasts. On top of that, there are major differences in geography and weather, but this post is more about the psychology of the people and how they differ. (Note that in this post, when I say “East Coast,” I really mean the northeast, as I feel that the southeast has a very different culture than the Mid-Atlantic and New England regions.)

Stereotypes

Most folks would agree that people on the two coasts have different general styles, personalities, and temperaments. Of course, every region, state, and city is diverse–all people in one location are not the same–but that said, there are trends. Movies, TV, and other media are full of stereotypical depictions of the laid-back California surfer or hippie versus the Type A New Yorker, patrician Main Line heir, or uptight New Englander. And just spending time in California, Oregon, and Washington State and then hanging on the East Coast (particularly the Mid-Atlantic and New England regions) will give most people a real-life experience of the differences in overall culture.

I wanted to do a little reading, though, to see if there is some science to support the stereotypes. After all, not all stereotypes are accurate. In fact, most are not completely accurate, or we wouldn’t call them stereotypes. So, I did a little Googling (looking for reliable sources, of course, not just opinion pieces) and found an interesting study.

Different Regions of the USA Have Different Personality Types

A 2013 study mapped clusters of personality traits in the United States and found that there were marked regional differences. The authors, Rentfrow and colleagues, were most interested in whether geographic personality trends were a factor in other trends, such as economics, politics, and health.

Personality Dimensions

Rentfrow et al. studied the “Big Five” dimensions of personality: extraversion, agreeableness, openness, conscientiousness, and neuroticism. The five basic personality traits is a theory developed in 1949 by D. W. Fiske and later expanded on by other researchers. When we examine these traits, we are looking at a spectrum of low to high; in other words, we can measure whether a person has a lot of the elements of the trait, just a few of them, or is somewhere in the middle.

Openness includes having a lot of imagination and insight. Highly open people are eager to learn and experience new things. They are creative and able to think more abstractly. People lower in openness are more traditional, less creative, more rigid, and less comfortable with new things and situations.

Conscientiousness is defined as being thoughtful and goal-directed, with high impulse control. People who are highly conscientious are structured and organized, good planners, and able to analyze their own behaviors and their impact. Those lower on this scale dislike structures and schedules and are more likely to procrastinate and fail to follow through on tasks.

Extraversion refers to being energized by socializing with other people and includes talkativeness, assertiveness, and high amounts of emotional expressiveness. People who are lower on the spectrum of this trait are typically called introverts.

Agreeableness includes having higher degrees of trust, altruism, kindness, and affection. Highly agreeable people tend to be more cooperative and more inclined to do things that help others. On the opposite end of this spectrum are people with a pattern of disagreeableness: manipulation, lack of caring, low empathy, and competitiveness.

Neuroticism is defined as having higher degrees of sadness, anxiety, moodiness, and emotional instability. This includes a tendency to worry, overthink, and have trouble relaxing. The opposite of neuroticism is emotional resilience and stability, with a greater ability to relax and cope with stress.

Regional Profiles

In Rentfrow and colleagues’ study, distinct psychological and personality profiles emerged that coincided with different parts of the United States. The authors defined three main “clusters”: “Friendly and Conventional,” “Relaxed and Creative,” and “Temperamental and Uninhibited.” These traits were correlated with political affiliation.

Maps of regional personality clusters. The
colored areas are hotspots for different traits. From Rentfrow et al., 2013.

As you can see in the diagram, the study showed clear differences in personality types between the West Coast and the northeast. The West Coast, labeled “Relaxed and Creative,” has a psychological profile marked by low Extraversion and Agreeableness, very low Neuroticism, and very high
Openness. There are disproportionate numbers of people of color, people with higher education, wealthy people, and folks who are economically innovative in this region. Acceptance of cultural diversity and alternative lifestyles is high, and the politics are more liberal.

Looking at the northeast personality cluster, “Temperamental and Uninhibited,” we find people who have traits of low Extraversion, very low Agreeableness and Conscientiousness, very high Neuroticism, and moderately high Openness. This configuration of qualities is found in reserved, aloof, impulsive, irritable, and inquisitive people–sounds a lot like Philadelphia and New York City! There are disproportionate numbers of older adults and women in this region, in addition to affluent and college-educated individuals. The politics tend to be liberal.

So, although there are some areas of overlap (people on both coasts are more reserved and open than those in the Mid-West, and people on both coasts are more creative), there are clear differences as well. For instance, West Coasters tend to be more innovative, empathetic, cooperative, and relaxed than their East Coast counterparts, who are more competitive, less empathetic, more organized and structured, and more anxious.

As this post is about differences between the East and West coasts, I’m not really too concerned with the Mid-West. But in the interest of being thorough, I will share what the study showed about region, labeled the “Friendly and Conventional” cluster. People here have moderately high levels of Extraversion, Agreeableness, and Conscientiousness, moderately low Neuroticism, and very low Openness. This group of traits is present in people who are sociable, considerate, dutiful, and traditional, with conservative politics.

Summing It Up

I found this study really interesting, as it puts more data and detail to the stereotypes. Did anything in this article surprise you?

Things I Love About Philadelphia

(In no particular order)

  • The Philadelphia Museum of Art
  • All the red brick in the historic neighborhoods
  • Being out on a summer evening with no jacket because it’s still warm
  • Being able to walk from one end of Center City to the other
  • The cultural diversity
  • Isaiah Zagar’s mosiacs and Philadelphia’s Magic Gardens
  • Clark Park and the big trees and historic houses in the surrounding neighborhood
  • All the great restaurants, many of which are very affordable
  • Vedge restaurant
  • Being close to New York City but not being New York City
  • The character of all the different neighborhoods
  • The way people say “wooder ice”
  • Walking along Kelly Drive in Fairmount Park
  • Tiny alleys full of trinity houses
  • The many beautiful murals (and the Mural Arts Program)
  • The Schuylkill River Trail
  • The Roots (and many other wonderful Philly musicians)
  • So many small music venues
  • All the outdoor beer gardens and pop-ups
  • Spruce Street Harbor Park
  • Many memories
  • Great old friends

… and so much more!

Celebrities of San Francisco

I have started working in the office two days a week after a year and a half of working at home because of COVID-19. It’s weird being back in the office, even if it is only 2 out of 5 work days! But that’s not the point of this post. The point is, I was wondering about which famous artists and musicians were born in and/or have lived in San Francisco. I am aware of a few, but I realized I have never researched this question, and I am sure there are many more than I knew about.

One thing that sparked this question for me (and explains why I mentioned working in the office again) was when I was commuting home after work last week (I take the bus, and my stop is on Haight Street), I was standing in front of a shop window that has a jewelry display. Some of the necklaces in the window are on stands, and the shop owner had put large photos of Janis Joplin’s face on some of them. A 20-something woman and her friend walked by, and the woman sneered, “Hah–they put some random woman’s face on that necklace!!” Her friend laughed, and I wanted to slap my palm against my forehead, seeing two young people who didn’t recognize/know about Janis Joplin! As I said, this got me to thinking about famous people who have lived in SF. Janis was not from here (she was from Port Arthur, Texas), but she did live in the Haight-Ashbury neighborhood in the ’60s.

This post contains some I already knew of, and others I didn’t. I am learning about some of these famous San Franciscans right now, as I write this post! Learn along with me!

Bruce Lee

Most people don’t know that Bruce Lee, one of the most famous martial artists in history, was born in San Francisco’s famous Chinatown. He was born there in 1940. His parents were from Hong Kong and moved back there with Bruce when he was 3 months old.

Ansel Adams

Iconic landscape photographer and conservationist Ansel Adams was born in the Western Addition neighborhood of San Francisco in 1902. His family also owned a house in the Sea Cliff neighborhood. Four-year-old Ansel Adams was injured in an aftershock of the great 1906 earthquake, breaking his nose when he was jolted into a wall.

Linda Ronstadt

Famous singer Linda Ronstadt was born in Arizona and lived in Los Angeles during her early career. She moved to San Francisco in the ’80s, then back to Tucson in the late ’90s, then back to San Francisco again in the early 2000s. When I was looking for an apartment in SF 2 years ago, I saw one that is across the street from where the singer now lives.

Danny Glover

Actor Danny Glover was born in San Francisco, attending school in the Richmond District. He also went to college at San Francisco State University.

Courtney Love

Grunge rock musician Courtney Love was born in San Francisco in 1964. She spent her early years in the Haight-Ashbury neighborhood, until moving to Oregon with her mother after her parents divorced in 1970. Love briefly moved back to San Francisco in the mid-’80s to pursue her music career and also attended the San Francisco Art Institute to study film and theater.

Rube Goldberg

Reuben Garrett Lucius Goldberg, known best as Rube Goldberg, a cartoonist, sculptor, author, engineer, and inventor, was born in San Francisco in 1883. He is most famous for his popular cartoons depicting complicated gadgets (“Goldberg machines”) performing simple tasks in indirect, convoluted ways.

Wayne Thiebaud

“Three Machines” by Wayne Thiebaud, on display in the DeYoung Museum in San Francisco. Thiebaud was born in SF in 1920.

Dorthea Lange

Iconic photographer Dorothea Lange was born in Hoboken, New Jersey, but moved to San Francisco in 1918. In 1945, she was invited by Ansel Adams to teach at the first fine art photography department at the California School of Fine Arts, now known as San Francisco Art Institute.

Margaret Cho

Comedian Margaret Cho was born in San Francisco in 1968 (same age as me!). She attended San Francisco State University.

There are so many others! Actors either born in or who lived in San Francisco include Lisa Bonet, Benjamin Bratt, Ellen DeGeneres, Clint Eastwood, Tom Hanks, Cheech Marin, Rob Schneider, Alicia Silverstone, Sharon Stone, Robin Williams, Ali Wong, and Natalie Wood. Isadora Duncan, the classic dancer, was born in San Francisco. Filmmakers who were either from or lived in SF include Francis Coppola, Sofia Coppola, George Lucas, and Wayne Wang. A lot of the musicians/bands attributed to San Francisco were not ones I had heard of, but I have heard of 4 Non Blondes, Tracy Chapman, The Charlatans, Counting Crows, Dead Kennedys, Faith No More, Flamin’ Groovies, Michael Franti, the Grateful Dead, Vince Guaraldi, Sammy Hagar, Chris Isaak, Jefferson Airplane, Jefferson Starship, Journey, Kronos Quartet, Huey Lewis, Johnny Mathis, Bobby McFerrin, the Melvins, Metallica, Moby, the Mummies, Graham Nash, Dan the Automator (Dan Nakamura), Liz Phair, Carlos Santana, Sly Stone, and Sid Vicious.

It’s such a creative city. Of course, the super-expensive cost of living is driving a lot of artists away from the Bay Area. It’s a shame that it’s tough for so many to make it here.

Well, I learned a lot. I hope you did, too!

The Psychology of Social Media

social media logos

I’ve noticed an interesting phenomenon related to social media: People make assumptions about others based on their posts. Nothing surprising about that, and I am certainly not the first or only person to make this observation. After all, social media is a way to share with others in a public way. So, it makes sense that we look at what others are posting and make assumptions. And, this phenomenon has been widely studied.

Why am I writing about this, you might ask? One reason is that as a psychologist providing mental health services to college students, I frequently hear about how making assumptions about social media can be damaging. The main reason is because of a psychological concept called social comparison theory. This theory posits that people constantly evaluate themselves and others in areas such as success, attractiveness, wealth, and intelligence. They typically make these evaluations about themselves by looking at others and what they perceive about them. People see others’ photos (which are often altered) and feel less attractive than that person. Folks read others’ posts about going to exclusive events, buying homes, going on vacations, their kids winning awards, getting promotions, and feel inadequate in comparison. And studies show that the more one uses social media, the more likely they are to feel down about themselves.

It’s important to remember that while there is some truth to what you are reading or seeing (hopefully, unless all your social media friends are pathological liars), it’s a carefully chosen and curated truth. And, as noted earlier, it may be a heavily edited and beautified truth. Your friend may not have teeth that straight and white, skin that clear, a waistline that slim but just appears so due to the magic of phone filters and PhotoShop. And while it’s true that your friend probably did go on that tropical vacation or get that promotion, they also had days when they felt sad, lonely, inadequate … days when they fought with their partner, the kid had a tantrum, they couldn’t pay all the bills, they sat on the couch consuming a whole bag of potato chips and feeling crappy about their life. Most people are not posting about all the bad stuff.

Well, some people do post about the bad days, pet peeves, and struggles. And some do not. This brings me to the second reason I was thinking about social comparison theory and social media: Sometimes my social media friends make comments on my posts such as “Wow, you look like you’re doing great!” or “Glad to see how happy you are!!” I always have mixed feelings about comments such as these. On the one hand, I chose to post a photo of myself on a beautiful hike or at a gathering of smiling friends. I chose to highlight something interesting, fun, or happy that I did. So, why should anyone assume I’m not loving life? I guess the other side of the coin is that even though I often choose not to post about my struggles, I’ve had many, especially in the past few years, and it’s hard when others assume I haven’t.

So, when you’re scrolling the ‘Gram or looking at Facebook and starting to feel like your life sucks compared with your friends’ lives (or even worse, you’re comparing yourself to celebs and influencers), just remember that you’re only seeing part of the story. We all have our joys and struggles–even celebrities! It’s best to try to get away from comparing yourself to others, especially if you come up short. Unless it’s a way to help yourself grow and move forward, of course. A little comparison, with some honest and constructive self-reflection, can be helpful. But only to a point. Be kind to yourself! And consider cutting back on your social media time if it’s contributing to feeling down on yourself.

And remember that your friends are having good and bad days, too. They may be posting about all of it, or they may be choosing to only show the highlights. So, don’t assume. And be kind in the assumptions you make about your friends–you may not know about all the struggles that are going un-posted.

Summer of Soul: A Nostalgic Musical Journey

I recently watched the documentary Summer of Soul (… or, When the Revolution Could Not Be Televised), directed by Ahmir (Questlove) Thompson, of Philadelphia band The Roots. Questlove is also a DJ, record producer, and author, among other things–the man seems to have endless talent and energy. If you haven’t seen Summer of Soul yet, do yourself a favor and watch it. (It can be seen in theaters and on Hulu.)

Summer of Soul is about the Harlem Cultural Festival of 1969, which consisted of a series of six outdoor summer concerts in Mount Morris Park (now Marcus Garvey Park), drawing more than 300,000 audience members. Singer Tony Lawrence organized the festival, and it was filmed by television producer Hal Tulchin. If you haven’t heard of it, it’s because the festival footage sat in a basement, largely unseen, until now. Was it just forgotten due to being overshadowed by Woodstock, which happened the same summer, or purposely hidden? Questlove intersperses interviews with concert footage that puts the music in the social and political context of the day and celebrates the power and joy of the performances.

“Me being a DJ is exactly what informed me on how to tell this story,” Questlove said in a virtual press conference for the film. “This isn’t the only story out there. Probably the most shocking thing that I’ve learned in the last month is that there’s about six to seven others. Maybe this film can be an entry, sort of a sea change for these stories to finally get out [and] really for us to acknowledge that … one of the first-ever Black festivals is important to our history.” 

You will be treated to never-before-seen concert performances by Stevie Wonder, Nina Simone, Sly & the Family Stone, Gladys Knight & the Pips, B.B. King, Mahalia Jackson, and more. The festival celebrated African American music and culture and promoted Black pride and unity. The documentary was released to rave reviews at Sundance, where it won both the grand jury prize and audience award and subsequently sold for more than $12 million, the biggest price tag for a documentary in Sundance’s history.

For me, the music brought back memories of my childhood in the early 1970s. As a white child growing up in rural Pennsylvania, I didn’t understand much about what was going on in America at the time, nor did I grasp the cultural significance of the music. Today, I see this music and these memories from a different perspective. It’s wonderful that Questlove made this film, which shines a long-overdue light on a groundbreaking musical event and celebrates Black history and culture.

Hipsters Over Time

When I was in my late 20s and early 30s, living in Philadelphia, I fancied myself a hipster. Whether I was one or not and whether this was a desirable thing, that was how I saw myself. I no longer do. Not only that, but the trappings of hipsters have changed over time, so, to be honest, I was a little fuzzy on what it currently means to be a hipster and had to Google a bit!

When I think of hipsters in the ’90s, I think of indie music, ratty jeans, ironic t-shirts, Pabst Blue Ribbon, tattoos, messenger bags, and an aloof attitude. The hipster subculture of that era, of which I tried to be a part, was equal parts “cooler than thou” (evidenced by knowledge of obscure films, preferences for obscure music, and shunning of pop–unless it was embraced ironically) and anti-capitalist. Hipsters followed a do-it-yourself ethos, feminist and liberal politics, and intellectualism. They also tried to co-opt some parts of Eastern and Black culture without much multicultural awareness. There was a lot of grunge and punk influence, as well as some leftover Beatnik flavor. I think of the movies Singles and Clerks as pretty emblematic of hipster culture.

The irony that hipsters tried to seem nonconformist in personal style, media choices, lifestyle, and ideas while totally conforming to the subculture rules is not lost on me now, but it was then. But, I suppose any subculture has its norms and rules. A true nonconformist would not adhere to any particular culture, whether it’s “sub-” or mainstream.

Fixed Gear Hipster, from Neatorama.com. And, in case you aren’t sure what “fixed gear is,” it refers to a type of bike favored by hipsters.

When I observe the more recent hipster culture, I see elements of ’90s hipsterism, but with some differences. The do-it-yourself vibe is there (think “artisan” everything), as is the desire to stand out from the mainstream. However, 2000s hipsters have appeared to me to embrace capitalism more by seeking out the eco-friendly product market, technology, product-heavy mustaches and beards, expensive haircuts, and fast fashion (and expensive indie fashion) with a hipster aesthetic. True, thrift stores and DIY fashion have been a part of neo-hipsterism as well, but a lot of the trappings of later hipsters are more commercial than the grungy stuff of the 1990s.

A 2000s hipster. From How to Spot a Hipster by Jeremy Cassar.

I guess I can’t judge myself or others too harshly for jumping on the hipster bandwagon. After all, most of us want to belong to something, and the way we present ourselves can serve as a shorthand to let others know what we’re about. That handlebar mustache says “I make my own pickles and like obscure bands–let’s go shop for vinyl together.” Trying to fit in to a subculture allows you to meet like-minded others who share some of your passions and dislikes.

Me trying to look hipster-y with short shag haircut, striped mock-neck shirt, cutoffs, black platform sandals, and scooter, while on vacation in 1996.
Another 1996 photo in which I am trying to be a hipster, this time with pixie cut, lariat necklace, chunky bracelet, t-shirt and black jeans, and cigar. Some craft beer or PBR was probably consumed this night.

So, if you are a former ’90s hipster, current hipster, wannabe hipster, or hipster hater, you do you. As for me, I don’t know if I fit in to any one subculture or scene and am not trying to. I know that I am no longer a hipster, if I ever was one. But I do still love me a cool PBR from time to time.

Cultural Appropriation in Belly Dance

Hi, dear readers. It’s been a long time since I posted. I seem to go in sporadic waves of inspiration with writing. I wanted to post something today because of a topic that has been coming up a lot in my social media feed: cultural appropriation in dance. Discussions on this subject have been heating up in the past year or so with regard to the style of Raqs Sharqi, or “belly dance,” that I have been studying since 2014, FatChance Style (formerly known as American Tribal Style). Although I am just a hobby dancer, not a teacher or a professional, I take this discussion very seriously.

Me in FatChance Style costume, 2018

What Is Cultural Appropriation?

First off, let me explain what I mean by cultural appropriation (from Google Dictionary):

  1. The action of taking someone’s culture or subculture, typically without asking for permission from those who are culturally or subculturally related or who understand said culture or subculture. 
  2. The artistic practice or technique of reworking art (including, but not limited to, dance and movement composition, literary composition, musical composition, and visual arts) in one’s own work.

In discussions about appropriation, typically, we refer to someone from the dominant culture taking something from a non-dominant and/or colonialized culture. There has long been a debate about whether dancers from non-MENAHT (Middle East, North Africa, Hellas [Greece], and Turkey) cultures who study, perform, or teach Raqs Sharqi (and FatChance Style comes out of Raqs Sharqi traditions) are engaging in cultural appropriation. While the debate around FatChance Style is more new (since FatChance dance is a modern fusion style that was only codified in the late 1980s and early 1990s in San Francisco) the overarching issues have been around for hundreds of years. (I won’t get into the whole history of Orientialism here, but it’s important to read about this movement and what is problematic about it. See “Further Reading” for some sources.)

Me in costume for a street performance, 2019

My Place in Belly Dance

As a white American woman of European heritage, I do not have any cultural or family connection to MENAHT cultures, from which much of FatChance Style’s dance moves come (as well as our typical costume pieces and jewelry). I just began doing belly dance because there is a vibrant belly dance scene here in northern and central California, and some friends were taking classes from local teachers. I gave it a try and got hooked. While I have listened closely to the criticisms I have heard about non-MENAHT dancers doing Raqs Sharqi, it’s not easy to make sense of where I stand. I do not want to contribute to oppressing or offending people from MENAHT (or other) cultures, nor do I want to abuse the privilege I have as a white woman who has not experienced the same discrimination or oppression as have people of color and women from many MENAHT cultures. But I also don’t think I believe that a white person can never study and appreciate dance (or other art forms) from cultures that are not their own.

For me, part of figuring this out involves how to be respectful and informed. This includes listening to people from the cultures that inspired my dance form, studying the history and music of MENAHT cultures, and learning more about the cultural aspects of costuming. While I am careful to avoid some of the more obvious forms of appropriation and racism (such as using makeup to appear darker skinned or using an “exotic”-sounding stage name), I wonder, can a white dancer ever really avoid appropriation when participating in this dance culture (or doing yoga, studying other forms of cultural dance, etc.)? Is it wrong for me to wear a decorative bindi? To wear Afghani or Rajasthani jewelry and belts? To dance to traditional MENAHT music? There is no definite agreement among dancers I have talked to about it, including dancers from MENAHT cultures. But, that said, there are certainly a lot of problematic aspects of the dance culture in America, so there is a need for continued examination and evolution.

A well-known article on this subject was written by Randa Jarrar, an American woman with Egyptian and Palestinian parents, who grew up in Kuwait, Egypt, and the United States, for Salon.com. She takes the stance that white women who belly dance are always engaging in cultural appropriation. In a different article, Jarrar noted that it’s not simply that MENAHT people want to protect belly dance; it’s that they protest “… the right [of white people] to take anything they want and not be criticized for it.” I can certainly understand that point. In addition, the belly dance community has been criticized for not making the environment more inclusive for people of various genders and for Black dancers.

These issues are ones I will be pondering as I continue to examine my position as a white dancer in this world. I hope I can continue to learn and perform this form of dance without believing I am doing harm. If I do come to the conclusion that I can’t avoid doing harm, I would need to find a new hobby and passion. But for now, I will continue to do my best to navigate this dance form while educating myself about its roots and impacts.

Further Reading

Çelik, Z. (1992). Displaying the Orient: Architecture of Islam at Nineteenth-Century World’s Fairs. Berkeley: University of California Press.

Jarrar, R. (2014). Why I can’t stand white belly dancers, Salon. https://www.salon.com/2014/03/04/why_i_cant_stand_white_belly_dancers/

Nochlin, L. (1983). The Imaginary Orient, Art in America, 119-191.

Saïd, E. (1978). Orientalism. New York, Pantheon Books.

San Francisco’s Ocean Beach History: The 1960s to 1980s

Surfers and friends on the seawall bleacher steps of Ocean Beach, 1960s.
Photo from Mickey Friedman.

This is probably my last post on the history of Ocean Beach–at least for now. As I said in my most recent post, I found so much information and so many photos, it was hard to narrow it all down. I have a hard time editing myself when it comes to history and pictures! So, this post covers the 1960s to 1980s in San Francisco’s western-most part of town, the Ocean Beach area of the Outer Sunset neighborhood. I imagine only diehard history buffs like me will find this interesting!

The 1960s
Things were changing around Ocean Beach in the ’60s. The amusement park Playland was still operating, but it was going downhill. After owner George Whitney had died in 1958, his son, George Jr., took over. George Jr. struggled to make improvements and keep the park going after some of the property was sold to a developer, who had minimal interest in keeping Playland up-to-date. It didn’t help that a ride collapsed in 1963! Nearby Sutro Baths had also lost much of their appeal.

Collapse of a ride at Playland, 1963. Photo from SF Public Library.
Sutro Baths and Skating Rink exterior, early 1960s.
Photo from SF Public Library.

Surfing and general beach-going were still very popular, however. Famous wetsuit and surfboard maker Jack O’Neill had opened his first shop in the Outer Sunset neighborhood in the ’50s; the shop moved to a site on the Great Highway, just off Ocean Beach, in 1960 and was there until ’66.

Jack O’Neill’s surf shop on Great Highway, early 1960s.
Photo from SF Public Library.
People and surfboards at Kelly’s Cove, the northern part of Ocean Beach near the Cliff House, early 1960s. Photo from Western Neighborhoods Project.
Playland at Great Highway and Fulton Street, early 1960s. Photo from OpenSFHistory/wnp25.2944.
View of Ocean Beach from Sutro Heights in 1963 (left) and 2021 (right). In the 1963 photo, the bleacher steps of the Ocean Beach seawall are visible–now buried in sand. Lurline Pier is still there, but not for long. You can see that the Dutch windmill at the north end of Golden Gate Park is in disrepair. 1963 photo from OpenSFHistory/wnp25.2891. In the 2021 photo, you can see how much wider the beach is–currents result in sand migrating from the south end of the beach to the north end. 2021 photo by Blair J. Davis.
Two 1964 photos: Left, a view south showing the seawall and Playland; photo from OpenSFHistory/wnp25.0145. Right, surfers by a bonfire, with the Cliff House in the background;
photo from OpenSFHistory/_wnp25.6441.

In 1964, developers with plans to replace Sutro Baths with high-rise apartments bought the site and began demolition. In 1966, a fire destroyed what was left of the Baths; the city did not pursue the high-rise plans.

Sutro Baths on fire, 1966. Photo from Golden Gate Park Archives.
Sutro Baths after the 1966 fire. Photo from SF Public Library.
Demolition begins on the remnants of Sutro Baths, 1966. Photo from SF Public Library.
Surfers and friends by the Ocean Beach seawall at Kelly’s Cove, 1965. Photo from Western Neighborhoods Project.
Cliff House, late 1960s. Photo from OpenSFHistory/wnp25.2360.
Crane lifts a dead whale off Ocean Beach, late 1960s.
Photo from OpenSFHistory/wnp4.0904.
Hippie kids on Ocean Beach, 1969. Photo from David Rubenstein Library.

The 1970s
The 1970s were a gritty time in most cities, including San Francisco. San Francisco had gained a reputation in the late ’60s as a haven for hippies and politically radical people. The city was heavily affected by drugs, prostitution, and crime. People who were marginalized elsewhere were attracted to the city by a greater tolerance and acceptance of diverse cultures and lifestyles.

Playland midway, around 1970. Photo from Western Neighborhoods Project.
Ocean Beach bleacher steps in the early 1970s.
A warm 1970s day on the esplanade.
Then and now: Men relaxing on the seawall by Ocean Beach in 1973 (left) and friends by the seawall on a foggy day in 2011 (right). Left photo from Western Neighborhoods Project.
Right photo by Blair J. Davis.

After the remains of Sutro Baths were demolished, the area fell into ruins. The ruins are quite picturesque and have attracted visitors for decades. Some scenes of the 1971 film Harold and Maude were filmed there. The former Sutro Baths site became part of the Golden Gate National Recreation Area in 1973.

Then and now: Left, a still from the 1971 film Harold and Maude on stairs amidst the ruins of Sutro Baths. Right, the same stairs in December 2020; photo by Blair J. Davis.
Oil spill cleanup on Ocean Beach, 1971. Photo from SF Public Library.
Woman by Cliff House, with view of Ocean Beach, around 1971. Photo from OpenSFHistory/wnp25.1851.

Another local attraction was gone in the early ’70s: Playland was sold to developers in 1971 and torn down in 1972. Condominiums were later built on the former site.

Playland after being shut down, 1971. The back slope of Sutro Heights can be seen in the background. Photo by Denis Englander.
The roller-skating rink at Playland after it was shut down, around 1971. The back slope of Sutro Heights can be seen in the background.
Closed attraction at Playland, 1972.
Man and kids in the rubble of the closed Playland, 1972.
Playland partially demolished, with transit turnaround in foreground, 1972. The Safeway at left is still there today.
1972 beach scenes. Left, volleyball at Kelly’s Cove; photo from Western Neighborhoods Project. Right, people on the Ocean Beach seawall bleacher seats.
Surfer with broken board at Kelly’s Cove, 1970s; photo from Western Neighborhoods Project.
Graffiti on the seawall, with the decrepit Dutch windmill behind, 1974.
Photo from OpenSFHistory/wnp25.4765.
Drumming and wrestling (or dancing?) by the seawall at the beach, 1975.
People looking at tombstones and other rubble on the beach at Rivera Street, late ’70s. After San Francisco’s graveyards were relocated decades ago, old tombstones, bricks, and pieces of stone were used as a seawall at Ocean Beach. While much of this rubble is covered in sand, at times it emerges. Photo from SF Chronicle.
Surfers and friends by the seawall, 1978. Photo from SF Chronicle.
A crowded 1979 day at Kelly’s Cove, with the Cliff House in the background.
Photo from SF Chronicle.

The 1980s
The ’80s were a tough time in San Francisco, between the AIDS epidemic and the 1989 Loma Prieta earthquake. Luckily for those living near Ocean Beach, the area did not sustain as much damage in the earthquake as other parts of San Francisco.

Without Playland and Sutro Baths, the area around Ocean Beach became more sleepy. Surfing continued to be popular, but it would never be as popular as it was in Southern California, due to the cold water and inconsistent surf. People continued to come to the beach, but there was less to do nearby.

Condos being constructed on former Playland site, early 1980s. Photo from SF Public Library.
Motorcyclist in the parking lot by Ocean Beach, 1980. Photo from Ralf K.
Football by Ocean Beach, 1981. Photo from SF Chronicle.
Trolley on Judah Street at Sunset, with a view to the ocean, 1980s. Photo by Peter Ehrlich.
Australian tourists Diana Sotts and Ned Trippe, 1982. Photo by Gary Fong, SF Chronicle.
Teen on a scooter by the beach, 1980s.
Wreckage of the King Phillip on Ocean Beach, 1984. Every so often, a shipweck emerges from the sand. Photo from SF Chronicle.
People dancing in costume in a storm drain structure on Ocean Beach, 1980s.
Photo by Frederic Larson, SF Chronicle.

Wrapping Up
Well, I hope you have enjoyed this little series of blog posts about Ocean Beach. As someone living near the beach, I have found it very interesting learning about the area’s history.

San Francisco’s Ocean Beach History: The 1930s to 1950s

People on Ocean Beach in front of Playland, 1930s. Photo from OpenSFHistory/wnp70.0936.

Earlier in January, I wrote a post on the early history of San Francisco’s Ocean Beach. I found so many amazing photos and so much interesting history that my post ran too long, so I ended it with the early 1930s. I realized that to share more of the pictures and info I discovered, I would need to do several posts. So, today, we look at the 1930s to the 1950s.

Playland and Nearby Attractions
In the 1930s, people continued to flock to the beach and Playland-at-the-Beach from around San Francisco, other parts of the Bay Area, and beyond, despite the hard times of the Great Depression. In fact, Playland continued to expand in the ’20s and ’30s.

Playland Midway in the 1930s. Photo from OpenSFHistory/wnp4.0947.
Cars on the Great Highway by Playland in the late 1930s.
Photo from OpenSFHistory/wnp32.0165.
Looking south at Playland and the streetcar terminal, 1937. Golden Gate Park and the Dutch windmill are in the background at left. Photo from OpenSFHistory/wnp4.0942.
Women (models?) on Ocean Beach in the late 1930s,
with the Cliff House in the background. Photo from SF Public Library.
Women frolicking on the beach, 1930s. Photo from SF Public Library.
Family picnic on Ocean Beach, 1930s.
Photo from SF Public Library.

George and Leo Whitney, the owners of Playland, had opened Topsy’s Roost in the former Ocean Beach Pavilion building in 1929. This restaurant and nightclub boasted live orchestras and even had slides for patrons to ride down onto the dance floor from the balcony! Unfortunately (but not surprisingly, given the era), Topsy’s decor and advertising included racist stereotypes of Black people. I’ll spare you by not including any photos here. The Whitneys also took over the Cliff House from the Sutro family in 1936.

View of Ocean Beach and Playland from Sutro Heights, 1930s.

In the 1930s, Sutro Baths struggled due to the Depression and changes in public health codes. As the baths became less popular, part of the complex was converted into a skating rink. Swimming continued, but the pools were no longer the gigantic attraction they had been in the late 1800s and early 1900s, when thousands would swim on many days.

Sutro skating rink, 1940s. Photo from OpenSFHistory/wnp37.02156wnp37.02156.
Sutro Baths streetcar depot and exterior of Sutro Baths, 1940s.
Photo from OpenSFHistory/wnp14.1472.
Young woman on the beach by Playland, 1940s. Photo from OpenSFHistory/wnp14.4785.

Early Surfing
The late ’30s and ’40s saw some brave people getting into surfing at Ocean Beach. The northern end of the beach near Playland was dubbed “Kelly’s Cove” and was a popular surf spot. According to an article in Surfline, the roots of surfing at Ocean Beach were planted when a handful of lifeguards from Fleishhacker Swimming Pool at Sloat Boulevard and the Great Highway were inspired by their Hawaiian colleagues, Cliff Kamaka and Eddie Eukini, to start bodysurfing and mat surfing. Apparently, surfboards were not used as much at first because most couldn’t withstand Ocean Beach’s harsh shore break and would end up damaged.

Fleishhacker Pool lifeguards, including early surfers Charlie Grimm (far left), Cliff Kamaka (center), and Eddie Eukini (far right). Photo by Anita Kamaka.
Surfers pose at Fort Kelly’s Cove, 1943. Photo from Western Neighborhoods Project.

The ’40s and ’50s
Ocean Beach and Playland continued to be popular in the World War II era and the early 1950s. Playland offered service people and their friends a cheap and relatively respectable place to have a good time and was open from noon to midnight.

An Ocean Beach picnic in the 1940s. Photo from OpenSFHistory/wnp26.1274.
View from the Cliff House to Playland, 1940s. Golden Gate Park is in the background.
Photo from OpenSFHistory/wnp25.3024.
Kids on Ocean Beach by Playland, 1940s. Photo from OpenSFHistory/wnp27.2047.
Three images from the 1940s. Left, women lounging on Ocean Beach; photo from OpenSFHistory/wnp26.1267. Center, Bathing Beauties at Playland; photo from SF Public Library.
Right, young women by a beach bonfire; photo from SF Chronicle.
Sailors and women, 1945. Photo from OpenSFHistory/wnp28.1474.
1940s or 1950s, two women on Ocean Beach. Photo from OpenSFHistory/wnp27.6461.
Ocean Beach in the 1940s. Left, child with dog and woman; photo from SF Public Library.
Right, teens relaxing on the beach; photo from SF Chronicle.
View south of Ocean Beach from Sutro Heights Park. On the left, the view from the patio, with statues, in the 1940s; photo from OpenSFHistory/wnp4.0144. Right, same view from the road just below the patio, January 2021; photo by Blair J. Davis.

As I said in my prior post, a makeshift development of retired streetcars, Carville, had popped up along Ocean Beach in the late 1800s. Mainly occupied by poor and working-class residents and Bohemians, it was mostly gone by the 1920s; as property values went up, the city forced the residents out and got rid of most of the streetcar structures. By the ’30s and ’40s, just a few remained, and others became unrecognizable as additions built on covered up the inner streetcar structure.

Woman shows interior of streetcar house near Ocean Beach in 1947; the former “Carville” once occupied the Outer Sunset near what became Playland.
Photo from SF Public Library.
1948 aerial view of Ocean Beach and Playland, looking north to Sutro Heights.
Photo from OpenSFHistory/wnp4.0940.
Women on the beach in the 1940s, with the Cliff House in the background.
Photo from OpenSFHistory/wnp70.1116.

Surfing gained more popularity through the ’40s, ’50s, and ’60s, and actual surfboards became the norm, although many got destroyed in the rough waters. Famous surfboard and wetsuit maker Jack O’Neill opened his first shop in the early to mid-1950’s near the Great Highway.

Surfing photos from the 1950s. Left, three men with a board; photo from Western Neighborhoods Project. Center, surfers and friends at Kelly’s Cove; photo from Carol Schuldt. Right, surfing before wetsuits were popular.

Sutro Baths continued to operate in the ’40s and ’50s but never regained its former acclaim. George Whitney bought Sutro Baths in 1952. A Sky Tram was built in the ’50s that took visitors across the Baths basin from Point Lobos to the outer balcony of the Cliff House. There also was an artificial waterfall.

Left, Sutro Baths exterior and view of ocean, 1952. Center, Sutro Baths entrance. Fun for the Day event at Sutro Baths, 1953. All photos from SF Chronicle.
Left, children swimming at Sutro Baths, 1953; photo from SF Chronicle. Right, Sutro Baths Sky Tram in the mid-50s or early ’60s; photo by Ed Bierman.

Playland’s Big Dipper was torn down over safety code concerns and maintenance issues in 1955. Playland owner George Whitney died in 1958, and the park gradually became faded and dingy as families in the city chose suburban destinations for recreation. People continued to trek out to Ocean Beach and the surfing culture grew, but many of the local attractions were becoming less popular and were not kept up in the same way.

Fun on Ocean Beach in the 1950s. Left, a woman in underwear, stockings, and fancy hat; photo from UC Santa Cruz. Right, women frolicking in the surf; photo from UC Santa Cruz.
Left, Vietnamese Delegation of Peace Conference eating on the Ocean Beach seawall, 1951; photo from OpenSFHistory/wnp12.0122. Center, people enjoying the beach, 1952; photo from OpenSFHistory/wnp27.2061. Right, parents and child on a cold day by the Ocean Beach seawall, 1955; photo from OpenSFHistory/wnp28.3045.
Sutro Heights stone patio in the 1950s (at left) and in 2019 (center) and 2021 (right). Left photo from OpenSFHistory/wnp4.0147. Center and right photos by Blair J. Davis.
Toddler on Ocean Beach, with Cliff House in background; photo from OpenSFHistory/wnp12.0108. Family bonfire on the beach; photo from OpenSFHistory/wnp12.0112. Both photos from 1957.
Fisherman trespassing on Lurline Pier, 1958. Lurline Pier protected the intake pipe for the downtown Lurline Baths, which operated from 1894 to 1936. It was removed in the 1960s. Photo from OpenSFHistory/wnp28.3628.
Lincoln Street storm drain on Ocean Beach in 1958 (left) and 2020 (right). It’s now covered with colorful graffiti. Left photo from OpenSFHistory/wnp25.6451. Right photo by Blair J. Davis.
People digging for treasure on Ocean Beach during the Emperor Norton Treasure Hunt. Photo, 1959, by SF Chronicle.
High tide at Ocean Beach, with view of the Lurline Pier, 1959. The seawall used to have bleacher-like steps, which are now buried in sand.
Photo from SF Public Library.

Enjoying this trip into the past? Check out my next Ocean Beach history post, which looks at the 1960s through 1980s.

The Pain and Pleasure of Remembering

Every so often (more now that I am getting older), I feel a twinge of …. something … when I think of the past. Maybe it’s when I’m thinking of an old flame, remembering an experience from childhood, or reminiscing about a carefree moment in my 20s: Along with the memory comes a feeling that is akin to emotional pain. Yet, it’s not altogether unpleasant–there is happiness mixed with the sadness. This is nostalgia.

My dad and me, 1968.

What Is Nostalgia?

According to Wikipedia, the word nostalgia comes from a Greek compound of nóstos (homecoming) and álgos (pain or ache) and was coined by a 17th-century medical student to describe a psychological disorder displayed by Swiss mercenaries at war away from home. At that time, nostalgia was considered a serious and even possibly fatal (due to suicide) form of extreme homesickness. It was seen as a form of melancholy, a term used to define what we now call clinical depression.

Family holiday gathering, 1973.

Nostalgia is not just the act of remembering the past, it also involves yearning for it. The yearning can feel both “positive” and “negative,” although I don’t like to label emotions in this way.

As I said, I have noticed that I experience nostalgia more often now that I am in my 50s than I did when I was younger. It seems that nostalgia is a condition more common in older age–it’s rarer for children, teens, and young adults to wish to go back to an earlier time in their lives than it is for older people. This makes sense, as we begin to experience the physical decline of aging and often must take on more responsibility (e.g., career, family) as we age so may look back on our younger, stronger, healthier, and perhaps more carefree selves.

What Is Nostalgia For?

One of the aspects of nostalgia I have noticed is that it has a physical sensation to it–it’s not just emotional or cognitive. I feel it most in my chest and stomach. It’s hard to define specifically, but it’s similar to a sad feeling one might get watching an emotional movie. So, it definitely has a flavor of sorrow, but it also feels sort of good. And, in fact, the current view on nostalgia is that it has some emotional and cognitive benefits: some psychological experts feel that experiencing nostalgia can improve mood, increase social connectedness, enhance positive self-regard, promote self-growth, and provide existential meaning.

Decorating the tree on Christmas Eve, 1989, with my mom.

However, some nostalgia can be personally or socially harmful. A negative form of nostalgia is having an overly romantic and idealized view of the past; for example, some Americans consider the 40s and 50s “the good old days” because the economy was strong and many middle-class white families were doing well. However, this sort of nostalgia is a form of denial, overlooking the fact that this time in U.S. history also involved the social oppression of and barriers to people of color, women, and many others. It can also be a form of privilege or insular thinking–only looking at one’s own past in a bubble and not in the context of larger society.

Being blind to the layers of the past hinders us from moving forward and improving our social systems. And using denial and avoidance of our own difficult past experiences or emotions can result in unresolved feelings and emotional numbing or stunting.

Nostalgia Triggers

I felt some nostalgia this holiday season, the first since my mother’s death and the first I have not spent back East with family, due to COVID making travel risky. I’ve also had some strong nostalgic feelings when looking at old photos, hearing old songs, or thinking about past fun times and trips. It’s such a strange mix of feelings.

Tahiti vacation with BFFs Laurie and Cathy in 1996.

Certain smells and songs can be powerful nostalgia triggers. One reason smell is so evocative is that it’s the sense with the most direct path into the brain. Also, the region of the brain that processes smell is closely connected to the regions that are involved with memory and emotion, the hippocampus and amygdala.

And I’m sure we’ve all had the experience of music waking up strong, vivid memories. Various studies in the late 2000s and early 2010s found that listening to music engages broad neural networks in the brain, including brain regions responsible for motor movement, emotions, and creativity. Like the brain regions responsible for smell, those processing music are connected to the areas involved with feelings and memory.

Summer fun with friends Rachel, Mia, and Vanessa, 2001, in Philadelphia.

Looking Ahead

Today is New Year’s Day 2021, the start of a (hopefully) better year after a very painful, challenging, and anxiety-provoking 2020. It’s a natural time to reflect on the past as well as look to the future. Today, I’ve been feeling a little nostalgic about my mom, about all the things I used to enjoy doing that were not possible or had to be seriously altered in 2020 (e.g., getting together with friends or family, going to restaurants or bars, seeing live performances, visiting museums and galleries, traveling), and about other memories. Allowing ourselves to feel nostalgia and to reflect is important. In addition to the benefits nostalgia can bring our minds and hearts, reflection gives us the chance to take stock and decide what we want to carry with us into a new year and what we want to let go of or alter.

In San Diego with cousins Jill and Elizabeth, 2010.

Wishing all a happy New Year and a better year ahead!