Draft:Vincent A Lynch

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  • Comment: Legacy.com, Discogs and Wikipedia are not reliable independent sources. Theroadislong (talk) 20:47, 26 August 2025 (UTC)
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Vincent Lynch (born April 5, 1946) is an American multidisciplinary artist working across painting, printmaking, publishing, music production, and documentary filmmaking. His art is often linked to process-based methods, philosophical inquiry, and cross-disciplinary practice.

Early life and education

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Born in Jersey City, New Jersey, Lynch was the youngest of four children of Mary and Thomas E. Lynch, Esq., who served as a law clerk to New Jersey Governor A. Harry Moore, and later as legal counsel to unions and financial institutions..[1] The family later moved to Rumson, New Jersey, where Lynch developed an early connection to the ocean and the rhythms of nature that would inform his creative life.

He attended Christian Brothers Academy (New Jersey), Phillips Exeter Academy, and studied at the University of North Carolina at Chapel Hill before leaving home with the intent of transferring to the University of California, Berkeley.[2] Due to his move to California, Vincent became estranged from his family; between 1966 and 1968, he supported himself through various jobs—including cannery line work, stevedoring, car washing, and handyman work.

Artistic training and philosophy

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Vincent Lynch and fellow artists at SF Chicken Factory

In 1968, Lynch was admitted to the San Francisco Art Institute (SFAI) with a scholarship based upon the submission of a portfolio of poetry.[2] At SFAI, he focused on painting and installation works, including a vinyl and mylar maze which was featured during the Gala Invitational Opening of SFAI's reinvigorated expansion of its facilities by architect Paffard Keatinge-Clay [3]

At the opening, the juxtaposition of the transitory nature of Lynch's maze complemented the substantial Le Corbusier-influenced architectural addition of Paffard Keatinge-Clay, which was built from textured concrete and atmospherically represented an austere postmodern space with cone-shaped skylights that sprouted up through the rooftop terrace.[4]

While at SFAI, Lynch was most influenced by Tom Akawie,[5] who instructed him in the art of airbrush techniques, and by Tom Holland (Tom Holland) who was influential in mentoring him in the relationship of the artist to his audience. From 1969 onward, Lynch developed a conceptual framework he referred to as a "passive, destructive/constructive process," which he linked to cyclical time and natural forces. Bay Area critics used this concept to describe his approach to process art.[6] Lynch's orientation toward process art placed him within a larger movement in the Bay Area art scene of the 1970s, which emphasized ephemeral materials, conceptual frameworks, and natural decay. As art historian Susan Landauer observed, San Francisco artists in this period "often rejected commercialism and permanence in favor of experimentation and material vulnerability."[7]

Section 3 – Career in Visual and Fine Art

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In 1973, Lynch’s paintings were included in a group exhibition at the San Francisco Art Institute (SFAI), curated by Phil Linhares.[8][9]

"Vincent Lynch's paintings are probably the most seldom seen and definitely the most experimental of this group. The paintings derive from Lynch's interest in primitive ritual, architecture, and spiritual development. He describes the process of his work as being a 'passive, destructive/constructive process'.... The resulting works contain the duality common to many other works in the exhibition; the blend of formal, painterly devices with a human and spiritual concern which carry these paintings beyond a purely commercial and decorative concern..."[10]

Installation shots of Stonehenge paintings by Vincent Lynch

Lynch’s Stonehenge series was included in a 1976–77 multi-venue exhibition that traveled to The Los Angeles Institute of Contemporary Art-(LAICA) in May-June 1976, the Berkeley Art Museum and Pacific Film Archive, formerly the University Art Museum of Berkeley, February though April, 1977, and the Oakland Museum at year end.[11]

Writing in the *San Francisco Chronicle*, critic Alfred Frankenstein remarked: "The theme of man and the earth and the powers of nature is very strong throughout this show, but nowhere with such power and originality as in Lynch's work. ...Michael Heizer digs up half a county to get where he is going, abstractly speaking. Lynch achieves a similar grandeur at a thickness of half an inch on a wall."[12][13]

Judith L. Dunham, writing in *Artweek*, stated: "The effects he achieves from this formal manipulation — a sense of age, the obvious construction of the work over time, and a juxtaposition of natural process with a manmade ordering of elements — tie in closely with their subjective content. Titled after and referring to Stonehenge, these self-contained rondos are analogues for ritual, history, and the emergence of human will and intelligence in an effort to systematize natural forces. The compositional orientation of each painting is circumspectly regulated, even to the existence of the tabular protrusions, which indicate a kind of ritualistic axis, and reasoning to which the whole is geared. In his paintings, Lynch's process, which renders the specific nature of the materials enigmatic, is an ingenious use of non-art substances for an aesthetic end."[14][15]

In 1975, Lynch participated in the South of Market Warehouse Exhibit, where he introduced a conceptual method he called the "passive, destructive/constructive process"—works intentionally subjected to environmental forces such as decay and reformation. The Exhibition was curated by Phil Linhares and featured Process Artists working in the South of Market Area. 1975; it was one of the first shows to be viewed under the banner of SOMA.[16]

The process document by Vincent Lynch for the SOMA project 1975

In his review of the 18 Bay Area Artists Show at the Berkeley Museum,[17] Art critic Thomas Albright - Art in the San Francisco Bay Area (book) categorized Lynch’s practice as "an extreme form of process-and-materials abstraction," noting his use of ephemeral substances such as yogurt and ketchup.[18]

Composite image showing nine installations by Vincent Lynch, including Stonehenge Series, Serpent Series, Hopewell 126, Quezacoatl, and the S.O.M.A. Installation.

In the 2000s, Lynch resumed his mound series, producing over 75 digital works across nine portfolios under the title Hopewell Mounds.[19] Lynch's compositions were derived from the topographic surveys from 1837–47 by Squier and Davis. [20] In the 2000 series, Lynch further visualized and augmented the etched images through digital media to explore historical and environmental continuity.

In 1975, Lynch began a series of 19 paintings using the same techniques as the Stonehenge and Serpent Mound Series.[21] He exposed them to the elements over a 50-year period. In 2025, he began incorporating the passage of time into these aging canvases for a retrospective exhibition planned for 2027.

One of those works featured in this series is based on the North Fork Works, now known as the Hopewell Ground Group, part of the UNESCO-designated World Heritage Site - Hopewell Ceremonial Earthworks.[22][23]

Section 4 – Music Production and Publishing

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In 1976, Lynch joined David Rubinson & Friends, where he served in various capacities and became Vice President in 1980. His career at Rubinson & Friends began as tour manager for John Shine[24] and Terry Garthwaite of Joy of Cooking[25].

This aspect of his position at David Rubinson culminated in the domestic and international VSOP tour for Herbie Hancock.[2] On this tour, Lynch also coordinated the last-minute inclusion of Hancock's retrospective performance at the 1976 Newport Jazz Festival held at the New York City Center Theater[26]; and the live recording made during that performance – *VSOP–Live*.[27] Lynch was credited as production manager on Hancock's VSOP live album. [26] [28]. Thereafter, he was responsible for overseeing all tour logistics and production elements for the artists' tours.

With this hands-on approach, Lynch worked with artists on Rubinson’s roster such as Narada Michael Walden, Wayne Shorter, The Pointer Sisters, Jeffrey E. Cohen, Randy Jackson, and Santana. Following Rubinson’s heart attack in 1982, and during Rubinson's recovery,[29] Lynch assumed responsibility for managing operations and artist relations.

He also developed and managed Judith Jukes, a jukebox restoration subsidiary of Rubinson’s company.[30] During this time, Lynch authored two pictorial books on jukeboxes. These books became reference guides for jukebox collectors, restorers, and connoisseurs, helping establish the jukebox as an art form. Rubinson wrote the preface to *The Jukebox – The Golden Age 1937–1948*[31], which was originally published by Lancaster Miller in the US and Thames and Hudson in England[32] , and later reprinted by Perigee/Putnam in 1983.[33] Lynch later published *American Jukebox – The Classic Years* with Chronicle Books in 1990.[34][35]

Lynch served as a subject-matter expert for Francis Ford Coppola and American Zoetrope, advising on historically accurate jukebox models for the films The Outsiders and Rumble Fish.

In 1984, Susan Skaggs, who had worked at The Automatt with Michelle Zarin, approached Lynch to help acquire a recording studio with engineer Howard Johnstone. Lynch facilitated the sale of Different Fur from founder Patrick Gleeson to Skaggs and Johnstone. Gleeson, a well-known musician and engineer who collaborated with Herbie Hancock, started the studio in 1968. Skaggs and Johnstone operated the studio through 2004. Different Fur continues to produce contemporary music, and the acquisition provided Lynch's clients with an alternative recording venue.[36]

KBC Band and event production

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In 1985, Lynch left Rubinson & Friends to manage his own talent. His first independent project was with Jefferson Airplane co-founder Paul Kantner to launch the KBC Band. From 1985 through 1988, Lynch was Paul Kantner's personal business manager and the head of production, tours, and business operations for the KBC Band.[2] To secure an album deal with one of the major record companies, Lynch negotiated with Bill Graham for the use of the Fillmore, which was closed at the time to general performances. He orchestrated a multimedia showcase where six record companies were invited to witness a performance of the new work, which was targeted for an album. "Hold Me" was introduced with a mock sermon by Robin Williams as preacher; "Planes" reunited Grace Slick and Kantner; Marty Balin sang "Sayonara" alongside a traditional Japanese Kabuki dancer. This show was intended to be the basis for the tour production following the album's release — a tour production that included The Spirit of America Concert[37] in 1985[38], and the 20th Anniversary of the Summer of Love Concert [39] at the SF Polo Field in 1987[40].

Four companies expressed interest in producing the band, but it was ultimately Clive Davis, President of Arista Records, who had been unsuccessful in securing the Jefferson Airplane as artists for his record label in the 1960s, who closed the deal with Lynch.

While engaged with Paul Kantner, Lynch also collaborated on a book of Kantner's reflections on his trip to Nicaragua and its political and personal ramifications.[41]

Democratic National Convention: Oh What a Night!

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In 1984, Speaker Willie Brown was in charge of overseeing the Democratic Convention in San Francsico, he wanted an event for the attendees and other honored guests that would be representative of the occasion and of the city.[42] As Bill Graham was not available at the time, Brown approached David Rubinson & Friends for their pro bono assistance. He asked Lynch to organize entertainment and guest security for the DNC event, "Oh What a Night!"[43]

With only four days' notice, Brown tasked Lynch with developing the full music schedule and coordinating the talent, who were performing across four stages, each stage running four hours of performances concurrently during the event. Additionally, Lynch had to cater to the special needs of the audience. There were Former Presidents, Supreme Court Justices, potential candidates, Governors, and House and Senate dignitaries - many with their own security teams, as well as handling the needs of the Secret Service and the FBI. This presented another layer of scheduling that had to be coordinated with the Head of San Francisco's Police Department. Lynch assembled a team including Michelle Zarin (The Automatt), Don Miley and John Geraldo (record promotion), and Beverley Summerfield (NARAS The event featured 38 acts over four stages, including Robin Williams, Whoopi Goldberg, New Riders of the Purple Sage, Santana, Jerry Garcia, Queen Ida, Greg Kihn, Merl Saunders, and Jefferson Starship.[2]

The NY Times wrote: "The party was the inspiration of Willie L. Brown Jr., Speaker of the California Assembly, who persuaded more than 60 donors to supply food, beverages, entertainment, and decor. And oh, what decor it was. Stage sets and backdrops representing local landmarks were arrayed through two huge buildings, allowing visitors to walk across an 80-foot Golden Gate Bridge, saunter through the Japanese Tea Garden, Chinatown, and North Beach, and relax on benches beneath Coit Tower." [43]

And the Washington Post commented:

"“Ten thousand "extras" -- a third of them delegates -- danced and ate and drank Monday night until one of the Iowa delegates asked if the crowd on San Francisco's Pier 45 was registering on the Richter scale. Six Coast Guard boats patrolled the Fisherman's Wharf pier, ready with a life jacket if anyone fell in. Carter, Kennedy, King. All the Democratic top-billers showed. "It's all in the interest of defeating Ronald Reagan," Brown shouted from one of the 10 music stages. "So let's party!" As if they needed encouragement. Jefferson Starship was rocking on the main stage, the center of a Hollywood reproduction of San Francisco that stretched far down the pier and covered an area the size of two football fields. Delegates who never dreamed of walking across the Golden Gate Bridge did so, four abreast, after stopping in Chinatown for Szechuan cuisine and in Ghirardelli Square for chocolate sundaes. "Never have I seen anything like this," said Richard Bell, an Indiana delegate for Mondale. "I just shook hands with President Carter. It's not often you come to a party like this."[44]

Section 6 – Documentary Filmmaking and Martial Arts

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In 1971, Lynch began studying Yang-style Tai Chi with Master Choy Kam Man, one of the earliest instructors to publicly teach this tradition in the United States. Master Choy’s father, Choy Hok Pang, is credited with introducing Yang-style Tai Chi to the U.S., and Master Choy was the first known instructor in San Francisco to teach Yang-style Tai Chi openly to non-Chinese students — a significant departure from the internally enforced restriction of classes being given only to Chinese practitioners.[45]

Archival footage from this period documents Lynch training with Choy's class at the Chinatown YMCA in San Francisco.[46]

Lynch became a certified Shirfu (Master Instructor) and taught multiple internal martial arts disciplines, including Kung Fu, Chi Kung (Qigong), Pa Kua Chang, Hsing I Chuan, and Taijiquan. In 1990, after returning to New York, he continued teaching Tai Chi and Qigong to senior citizens, emphasizing health and longevity, and engaged in hospice work with aging and terminally ill populations in hospital settings.[47]

In 1982, Lynch began training with Shirfu George Xu Guo Ming, a prominent international figure in internal martial arts.[48] From 1982 to 1990, Lynch managed Xu's U.S. instructional tours, demonstrations, and summer training camps. During this time, Lynch and Xu developed an exchange program, which brought Chinese Shirfus to the United States, to demonstrate and teach their more historical and traditionally based systems. Xu was featured multiple times on the cover of *Inside Kung Fu* magazine during the 1990s and 2000s[49] and currently serves as President of the Worldwide Association for Chinese Internal Martial Arts (WACIMA), and maintains an international presence with affiliated schools in Italy, Germany, Sweden, Singapore, and China.

In 1985, Lynch was invited by the U.S. Mixed Martial Arts Team, led by Wally Jay and including Al Dacascos, George Xu, Bill Owens, Brendan Li, Jim Silvan, Master So Se Cho, and John Leung, to travel to China for the First International Invitational Wushu Championships in Xi'an.[2] Lynch filmed this tour and the team’s subsequent performances at martial arts academies across China. His documentary *Kung Fu Diplomacy*[50] received awards at the Philadelphia Film and Video Festival and the San Mateo County Film Festival.[51]

Lynch also filmed at the Shaolin Temple, collecting footage later used in the instructional and documentary series *China’s Living Treasures*, a 62-title collection focused on preserving traditional Chinese martial and healing arts.[52]

During the 1985 tour, Lynch interacted with numerous martial arts masters and visited key institutions across China. Many of the Chinese martial leaders had previously been incarcerated or monitored under restrictions stemming from the Cultural Revolution.[53]

The First International Wushu and the subsequent tour by the US team marked one of the earliest exchanges between Chinese martial institutions and international practitioners following the easing of restrictions.[54]

Between 1990 and 2005, Lynch directed and produced a range of cultural documentaries that focused on martial arts and performance. It was through this series *China’s Living Treasures*, and the cultural exchange program, that Lynch and Xu attempted to collect and archive traditional forms of Martial Arts. He documented key practitioners across disciplines including: Taekwondo, Jujitsu, Kung Fu, Qigong, Pa Kua Chang, Hsing I Chuan, and Taijiquan.

Producer/Director Credits

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  • *Kung Fu Diplomacy* – award-winning documentary narrated by Bill Owens[55] and Paul Kantner.
  • *China’s Living Treasures* – 62-title instructional and documentary series featuring senior masters across Chinese martial arts schools.
  • *Bud Houser: America’s Oldest Living Olympian* – sports documentary narrated by Al Oerter and Marty Glickman.

Literary Work and Tea Practice

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Lynch has authored several books, including: - Treasure of the Secret Island (children's fiction) - Crash The Crow (illustrated story)[56] - A Year in the Marsh Lands (haiku)[57] - Forgotten Satoris Don't Count - ISBN 0991361253 (memoir)[2]

Books which Lynch edited, designed, or co-wrote: - Author: Paul Kantner | Title: Nicaragua Diary: How I Spent My Summer Vacation or I Was a Commie Dupe for the Sandinistas | ISBN 0941781038 Vincent Lynch served as book and content designer.[41]

The haiku book, written under the name Rojin Shoshinsha ("Old Man Beginner"), was inspired by a year spent walking the Marshlands Conservancy. Retaining the 5-7-5 structure, the book draws on chirashi-gaki (scattered writing) and vertical typesetting.

Accoutrement made by Vincent Lynch for use in Japanese Tea Ceremony

A practitioner of the Japanese tea ceremony, Lynch crafted many of his own ceremonial tools. These works have been cataloged and loaned to the Urasenke.[58] Lynch's original tea ceremonial paraphernalia are part of the private collection of Hounsai Genshitsu, fifteenth-generation Grand Tea Master of Urasenke.[59]

The constant throughout Vincent Lynch's life has been his adherence to the philosophical belief that art is the physical manifestation of the interaction between the undefined forces of nature and human's ideation around that change through time and as part of the 'passive, destructive/constructive process;' and that ultimately art is found in all the action in between.

References

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  1. ^ "Thomas E. Lynch obituary". The Daily Register. February 11, 1987. Retrieved 2025-07-19.
  2. ^ a b c d e f g Lynch, Vincent (2014). Forgotten Satoris Don't Count. Nightshade Press. ISBN 978-0991361250. Retrieved 2025-07-17.
  3. ^ Keune, Eric R. (September 2006). "P(e)rese(ve)rving – Modernism". arcCA Digest. Retrieved 2025-08-07.
  4. ^ "SFAI Archive Item: Vinyl Maze". San Francisco Art Institute Archive. Retrieved 2025-07-19.
  5. ^ "Thomas Akawie Obituary". Legacy.com. Retrieved 2025-07-19.
  6. ^ Linhares, Phil (October 1973). "Exhibition Notes on Process Art". San Francisco Art Institute. Retrieved 2025-07-19.
  7. ^ Landauer, Susan (2003). The Not-So-Still Life: A Century of California Painting and Sculpture. University of California Press. ISBN 9780520239388. Retrieved 2025-08-21.
  8. ^ "Walter and McBean Galleries". Wikipedia. Wikimedia Foundation. 1967–1977. Retrieved August 26, 2025. Philip E. Linhares was Director of the Walter and McBean Galleries from 1967 to 1977. Linhares later became Chief Curator at the Oakland Museum of California, serving from 1990 to 2011.
  9. ^ "An Interview With Phil Linhares Small Works Juror". richmondartcenter.org. 31 May 2018. Retrieved 2025-07-22.
  10. ^ "SFAI curated show". San Francisco Art Institute Archive. Retrieved 2025-07-19.
  11. ^ "Past Exhibitions". BAMPFA. UC Berkeley Art Museum and Pacific Film Archive. 18 July 2016. Retrieved 2025-08-25. "18 Bay Area Artists — February 1–March 14, 1977 & March 19–April 24, 1977."
  12. ^ Frankenstein, Alfred (October 19, 1973). "'Six Painters' at the Institute: Some Explorations in Art". San Francisco Chronicle. San Francisco, CA: NewsBank. p. 56 – via San Francisco Public Library.
  13. ^ Frankenstein, Alfred (October 1973). "Bay Area Artists". San Francisco Chronicle. Retrieved August 18, 2025.
  14. ^ Dunham, Judith L. (1973-11-03). "18 Bay Area Artists: Part II". Artweek. Vol. 4, no. 37. pp. 1–2.
  15. ^ "Artweek Index and Article Access Response". San Francisco Public Library – Magazines & Newspapers Center. 2025-08-08. Retrieved 2025-08-18.
  16. ^ Linhares, Phil (October 1975). "Exhibition Notes on Process Art". San Francisco Art Institute. Retrieved 2025-07-19.
  17. ^ Albright, Thomas (1977-02-18). "18 Bay Area Artists". San Francisco Chronicle – via San Francisco Public Library.
  18. ^ Albright, Thomas (1985). Art in the San Francisco Bay Area: 1945–1980. University of California Press. ISBN 9780520051935. Retrieved 2025-07-19.
  19. ^ "Vincent Lynch Digital Portfolios". Retrieved 2025-07-19.
  20. ^ Squier, E. G.; Davis, E. H. (1848). Ancient Monuments of the Mississippi Valley. Smithsonian Contributions to Knowledge. Vol. 1. Washington, D.C.: Smithsonian Institution; printed by Edward O. Jenkins, 114 Nassau Street, New York. Retrieved 2025-08-25 – via Project Gutenberg.
  21. ^ "Major Dache M. Reeves photographs of Ohio mounds, 1934–1936 (Collection ID: NMAI.AC.154)". National Museum of the American Indian Archive Center. Smithsonian Institution. 1934–1936. Retrieved 29 July 2025.
  22. ^ "Hopewell Ceremonial Earthworks". UNESCO World Heritage Centre. UNESCO. Retrieved 29 July 2025.
  23. ^ "Upcoming Lynch Retrospective". Retrieved 2025-07-19.
  24. ^ "Songs for a Rainy Day – John Shine". AllMusic. 1975. Retrieved 2025-08-29.
  25. ^ "Terry Garthwaite". AllMusic. All Media Network. Retrieved 2025-07-22.
  26. ^ a b V.S.O.P. (LP liner notes). Herbie Hancock (Columbia C2-34976 ed.). Columbia Records. 1977. Management [Road Manager] – Vincent Lynch.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  27. ^ Watrous, Peter (1976-07-01). "Retrospective Honors Herbie Hancock". The New York Times. Retrieved 2025-07-22.
  28. ^ "Herbie Hancock". Discogs. 1997. Retrieved 2025-07-19.
  29. ^ "David Rubinson". Wikipedia. Retrieved 2025-07-19.
  30. ^ "Rubinson Brings Back Radio Golden Age Via Judith's Jukes" (PDF). Cash Box. December 15, 1979. pp. 41–42. Retrieved August 26, 2025. …when he got right hand man and former Herbie Hancock road manager Vincent Lynch, to "develop a relationship" with Jukebox Jerry and to obtain the vintage phonographs. Lynch is now manager of Rubinson's new company, which specializes in sale, service and restoration of 78 RPM jukeboxes, Judith's Jukes.
  31. ^ "The Jukebox: The Golden Age 1937–1948". Brooklyn Public Library Catalog. Retrieved 2025-07-22.
  32. ^ "Jukebox Pictorials and Books". Tom's Zone: Jukebox History. Tom's Zone. Retrieved 2025-08-29. This compact (7.75″×8.25″) hardcover book, by Vincent Lynch, was published in 1981. It shows a series of high-quality color photographs of fully restored jukeboxes, speakers and wallboxes from 1937–1948. The book is 110 pages and is 'heavy' on full-page pictures and light on text. If you want to see the best of the best, this is the book.
  33. ^ Lynch, Vincent (1981). The Jukebox – The Golden Age 1937–1948. Putnam. ISBN 9780399508448.
  34. ^ Lynch, Vincent (1990). American Jukebox – The Classic Years. Chronicle Books. ISBN 9780877016786.
  35. ^ "Jukebox Pictorials and Books". Tom's Zone: Jukebox History. Tom's Zone. Retrieved 2025-08-29. Another 'coffee-table' hardcover book (9″×10.25″) by Vincent Lynch, published in 1990 and is 110 pages. It primarily contains color photographs of fully restored jukeboxes taken in studio settings.
  36. ^ "Different Fur Studios History". Different Fur Studios. Archived from the original on 2011-12-03. Retrieved 2025-07-22.
  37. ^ "Brief: Spirit of America concert at Golden Gate Park". The Press Democrat. Santa Rosa, CA. August 30, 1985. p. 55. Retrieved 2025-08-29.
  38. ^ "KBC Band Setlist at Spirit of America Festival, Golden Gate Park, San Francisco, CA, USA". setlist.fm. Retrieved 2025-08-29.
  39. ^ "KBC Band Setlist at 20th Anniversary of the Summer of Love, Polo Field, Golden Gate Park, San Francisco, CA, USA". setlist.fm. Retrieved 2025-08-29.
  40. ^ "Parade, music mark 20th anniversary of 'summer of love'". United Press International. June 22, 1987. Retrieved 2025-08-29.
  41. ^ a b Kantner, Paul (1987). Nicaragua Diary: How I Spent My Summer Vacation or I Was a Commie Dupe for the Sandinistas. Sheridan Square Press. ISBN 0941781038. Retrieved 2025-07-22.
  42. ^ Richardson, James (1996). "Chapter 22". Willie Brown: A Biography. University of California Press. p. 316. Retrieved 2025-07-22.
  43. ^ a b "In San Francisco, the Week of 100 Parties". The New York Times. 1984-07-20. Retrieved 2025-07-22.
  44. ^ Bumiller, Elisabeth; Romano, Lois (1984-07-18). "Toasting the Top Talkers: At the Parties, Praise for Jackson, Cuomo & Ferraro". The Washington Post. Retrieved 2025-08-25.
  45. ^ Gilman, Michael (1998-05-15). 108 Insights into Tai Chi Chuan: A String of Pearls (Revised ed.). YMAA Publication Center. p. 110. ISBN 9781886969582. Retrieved 2025-07-28.
  46. ^ "Choy Kam Man Yang Tai Chi in the 70s". Tai Chi Videos. 21 September 2012. Retrieved 2025-07-25.
  47. ^ Michelle Loy (2023-02-10). "How Qigong and Tai Chi Benefit the Body and Mind". Health Matters (Interview). Interviewed by Madeline Rosenberg. NewYork-Presbyterian. Retrieved 2025-07-25.
  48. ^ Xu, George (January 2003). "Real Potentials of Tai Chi" (PDF). Tai Chi Magazine. Retrieved 2025-07-25.
  49. ^ "Search results for George Xu". Martial Arts Magazine Archive. Retrieved 2025-07-28.
  50. ^ "China's Living Treasures: Kung Fu Diplomacy (review)". Video Librarian. May 1990. Retrieved 2025-07-22.
  51. ^ China's Living Treasures: Kung Fu Diplomacy – full documentary (Video). China's Living Treasures. Retrieved 2025-07-22 – via YouTube.
  52. ^ "108Taiji (YouTube channel)". YouTube. 108Taiji. Retrieved 2025-07-22.
  53. ^ Lu, Zhouxiang (2018). "5. Mao Era". In Susan Brownell (ed.). The Routledge Handbook of Sport in Asia. Routledge. pp. 81–96. doi:10.4324/9781315108438-5. ISBN 9781315108438.
  54. ^ Lu, Zhouxiang (2018). "6. The Era of Reform and Opening-Up". In Susan Brownell (ed.). The Routledge Handbook of Sport in Asia. Routledge. pp. 97–112. doi:10.4324/9781315108438-6. ISBN 9781315108438.
  55. ^ Ferreira, Kat (2017-06-15). "Martial Arts Sifu Bill Owens Reflects on his 50th Year". Oakland Voices. Retrieved 2025-07-22.
  56. ^ Lynch, Vincent (2013). Crash the Crow. Nightshade Press. ISBN 978-0991361243.
  57. ^ Lynch, Vincent (2013). A Year in the Marshlands. CreateSpace. ISBN 978-1494219482.
  58. ^ "About Urasenke Tea Center". Urasenke New York. Retrieved 2025-07-19.
  59. ^ "Urasenke Konnichian Official English Website". Urasenke Konnichian. Retrieved 2025-07-19.
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