San Francisco Public LibrarySan Francisco Public Library
The Oakland Tribune’s First Black Photojournalist Captured the ‘Black Aesthetic’ of the ’60s and ’70s
Dazié Grego, 'Middle Passaged'
Celebrating the Sexual Anarchy of The Cockettes at the San Francisco Public Library
A Portal to San Francisco’s Punk Rock Past
San Francisco Public Library Main Branch Reopens to Cheers
Third Annual 'Night of Ideas' Pulls Together Leaders, Thinkers, Artists
SF Public Library Opens for Front-Door Service, Announces 'One City One Book' Pick for 2021
27 Years Later, Nine Artists Consider Kiki Gallery—Within its Same Walls
The State of California Wants Your Coronavirus Stories
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height=\"2404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-800x801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-1020x1022.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-1533x1536.jpg 1533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-2045x2048.jpg 2045w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-1920x1923.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Woman in downtown San Francisco on Market Street. \u003ccite>(Kenneth P. Green Sr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">You know that curiosity that pops up sometimes when you’re in a gallery and you’re looking at a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">really good\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> photo of a stranger? And the spirit of it, the everyday-ness of it, makes you want to know the person’s story? \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Were they happy in life? What were their struggles? What was their day like before and after that picture was taken? Are they still alive? \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the feeling I had looking at Kenneth P. Green Sr.’s photographs, now on display at the Jewett Gallery in San Francisco’s Main Public Library. \u003c/span>\u003cspan style=\"font-weight: 400\">The exhibition, titled \u003c/span>\u003ca href=\"https://sfpl.org/exhibits/2024/01/25/toward-black-aesthetic-kenneth-p-green-srs-photographs-1960s-and-70s\">\u003ci>\u003cspan style=\"font-weight: 400\">Toward a Black Aesthetic\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> and on view through April 21, features Green Sr.’s mostly never-before-seen images capturing Bay Area Black women’s beauty and style in the 1960s and ’70s.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There was a certain charisma and fashion that they left the house with, knowing that they had to represent themselves. Otherwise they were going to be ignored,” says Kenneth P. Green Jr., Green Sr.’s son and co-curator of the exhibition. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13950887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950887\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-800x995.jpg\" alt=\"Black and white photo of a Black women in a white hat and stylish clothes draping a fur over her shoulder\" width=\"800\" height=\"995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-800x995.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-1020x1269.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-768x956.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-1235x1536.jpg 1235w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-1646x2048.jpg 1646w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-1920x2389.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joan modeling fashion. \u003ccite>(Kenneth P. Green Sr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Green Jr. \u003c/span>\u003ca href=\"https://www.kennethpgreenphotography.org/\">\u003cspan style=\"font-weight: 400\">manages an archive\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> of 80-plus-thousand negatives of his father’s photographs (and has digitized over 11,000 of them to date). Many are from Green Sr.’s time as the first Black staff photographer at the \u003cem>Oakland Tribune —\u003c/em> a role he held from 1968 until his untimely death in 1982 at age 40 while on a photo assignment. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Green Jr. has done exhibitions and projects involving his father’s collection before, mainly involving his father’s photographs of the Black Panther Party — some of which are part of the ongoing \u003c/span>\u003ca href=\"https://museumca.org/on-view/black-power/\">\u003cspan style=\"font-weight: 400\">Black Power exhibition\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at the Oakland Museum. But the woman-centered theme of this exhibition emerged when Green Jr. noticed something when looking through his father’s body of work. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I had more images, independent profile shots of Black women, than I had most anything,” Green Jr. says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Images like a group of Black women, young and old, dressed for church service in West Oakland. Black women running on Ocean Beach with the Cliff House visible in the background. A Black woman in a leopard-print jacket and knee-high boots sitting in the Merritt College cafeteria.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13950888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950888\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-800x788.jpg\" alt=\"Seven nicely dressed Black women of various ages stand in a row on the street outside a building.\" width=\"800\" height=\"788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-800x788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-1020x1005.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-1536x1513.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-2048x2018.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-1920x1892.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Multiple women attending West Oakland Methodist Church in 1967. \u003ccite>(Kenneth P. Green Sr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I can definitely tell that my dad wanted to leave a record that white America wasn’t focused on documenting Black women in the ’60s and ’70s,” Green Jr. says. “But he made sure that he documented them at their best so that we could have a real record of what a Black woman and the aesthetic looks like.”\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shawna Sherman, manager of the library’s African American Center, says greenlighting the exhibition was a no-brainer once the team saw the images. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='pop_102326,arts_13936457,arts_13920049']“You could tell that Kenneth Green Sr. really loved the Black community in these photos,” she says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Green Sr. knew the community well, too. He grew up in San Francisco, graduating from Balboa High School in 1958 before getting his photography degree from Laney College. He later settled in Oakland on Fruitvale Avenue and 19th Street with his family.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The African American Center, on the library’s third floor, displays more of Green Sr.’s photos — specifically, rare photos of the African Liberation Day demonstration in San Francisco in 1972 that further underline the significance of his work in capturing Bay Area history. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I haven’t been able to find other images of African Liberation Day in San Francisco, you know, besides these photographs,” Sherman says. “We’re very lucky that he was there.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13950889\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950889\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-800x1206.jpg\" alt=\"A Black woman holds a sign that reads African Liberation Day May 27, 1972.\" width=\"800\" height=\"1206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-800x1206.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-1019x1536.jpg 1019w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-1920x2895.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-scaled.jpg 1698w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman holds a sign for African Liberation Day on May 27, 1972. \u003ccite>(Kenneth P. Green Sr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I ask Green Jr. what he believes his father would think about this exhibition and all the work his son has been doing to keep his memory alive, he says his father would “be speechless.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think he would literally be shocked and in awe of celebrating the life work of Ken Green,” he adds. “Something that he did from his heart, that was a passion, that led to being really a very important memory and jewel of Bay Area, Oakland, San Francisco history.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A history anyone can now see and enjoy, for free.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">“\u003ca href=\"https://sfpl.org/exhibits/2024/01/25/toward-black-aesthetic-kenneth-p-green-srs-photographs-1960s-and-70s\">Toward a Black Aesthetic: Kenneth P. Green Sr.’s Photographs of the 1960s and 70s\u003c/a>” is on view at San Francisco’s Main Public Library through April 21. \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">A related author talk between Dr. Tanisha Ford and Dr. Tiffany E. Barber will be held at the library on Feb. 28.\u003c/span>\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"An SF Public Library exhibit spotlights Kenneth Green Sr.'s photos documenting Black women's style.","status":"publish","parent":0,"modified":1706300777,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":843},"headData":{"title":"The Oakland Tribune's First Black Photojournalist Captured Black Women's Style | KQED","description":"An SF Public Library exhibit spotlights Kenneth Green Sr.'s photos documenting Black women's style.","ogTitle":"The Oakland Tribune's First Black Photojournalist Captured the 'Black Aesthetic' of the '60s and '70s","ogDescription":"","ogImgId":"","twTitle":"The Oakland Tribune's First Black Photojournalist Captured the 'Black Aesthetic' of the '60s and '70s","twDescription":"","twImgId":"","socialTitle":"The Oakland Tribune's First Black Photojournalist Captured Black Women's Style %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Oakland Tribune’s First Black Photojournalist Captured the ‘Black Aesthetic’ of the ’60s and ’70s","datePublished":"2024-01-25T14:00:23.000Z","dateModified":"2024-01-26T20:26:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Arts","sourceUrl":"https://www.kqed.org/arts","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/fd8ab915-8013-43e0-992b-b102011275f8/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13950886/oakland-tribune-first-black-photojournalist-exhibit-sf-public-library","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13950890\" class=\"wp-caption alignnone\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950890\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street.jpg\" alt=\"A woman wearing black boots and holding a bag stand on the sidewalk surrounded by buildings.\" width=\"2400\" height=\"2404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-800x801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-1020x1022.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-1533x1536.jpg 1533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-2045x2048.jpg 2045w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-1920x1923.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Woman in downtown San Francisco on Market Street. \u003ccite>(Kenneth P. Green Sr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">You know that curiosity that pops up sometimes when you’re in a gallery and you’re looking at a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">really good\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> photo of a stranger? And the spirit of it, the everyday-ness of it, makes you want to know the person’s story? \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Were they happy in life? What were their struggles? What was their day like before and after that picture was taken? Are they still alive? \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the feeling I had looking at Kenneth P. Green Sr.’s photographs, now on display at the Jewett Gallery in San Francisco’s Main Public Library. \u003c/span>\u003cspan style=\"font-weight: 400\">The exhibition, titled \u003c/span>\u003ca href=\"https://sfpl.org/exhibits/2024/01/25/toward-black-aesthetic-kenneth-p-green-srs-photographs-1960s-and-70s\">\u003ci>\u003cspan style=\"font-weight: 400\">Toward a Black Aesthetic\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> and on view through April 21, features Green Sr.’s mostly never-before-seen images capturing Bay Area Black women’s beauty and style in the 1960s and ’70s.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There was a certain charisma and fashion that they left the house with, knowing that they had to represent themselves. Otherwise they were going to be ignored,” says Kenneth P. Green Jr., Green Sr.’s son and co-curator of the exhibition. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13950887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950887\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-800x995.jpg\" alt=\"Black and white photo of a Black women in a white hat and stylish clothes draping a fur over her shoulder\" width=\"800\" height=\"995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-800x995.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-1020x1269.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-768x956.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-1235x1536.jpg 1235w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-1646x2048.jpg 1646w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-1920x2389.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joan modeling fashion. \u003ccite>(Kenneth P. Green Sr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Green Jr. \u003c/span>\u003ca href=\"https://www.kennethpgreenphotography.org/\">\u003cspan style=\"font-weight: 400\">manages an archive\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> of 80-plus-thousand negatives of his father’s photographs (and has digitized over 11,000 of them to date). Many are from Green Sr.’s time as the first Black staff photographer at the \u003cem>Oakland Tribune —\u003c/em> a role he held from 1968 until his untimely death in 1982 at age 40 while on a photo assignment. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Green Jr. has done exhibitions and projects involving his father’s collection before, mainly involving his father’s photographs of the Black Panther Party — some of which are part of the ongoing \u003c/span>\u003ca href=\"https://museumca.org/on-view/black-power/\">\u003cspan style=\"font-weight: 400\">Black Power exhibition\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at the Oakland Museum. But the woman-centered theme of this exhibition emerged when Green Jr. noticed something when looking through his father’s body of work. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I had more images, independent profile shots of Black women, than I had most anything,” Green Jr. says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Images like a group of Black women, young and old, dressed for church service in West Oakland. Black women running on Ocean Beach with the Cliff House visible in the background. A Black woman in a leopard-print jacket and knee-high boots sitting in the Merritt College cafeteria.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13950888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950888\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-800x788.jpg\" alt=\"Seven nicely dressed Black women of various ages stand in a row on the street outside a building.\" width=\"800\" height=\"788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-800x788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-1020x1005.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-1536x1513.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-2048x2018.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-1920x1892.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Multiple women attending West Oakland Methodist Church in 1967. \u003ccite>(Kenneth P. Green Sr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I can definitely tell that my dad wanted to leave a record that white America wasn’t focused on documenting Black women in the ’60s and ’70s,” Green Jr. says. “But he made sure that he documented them at their best so that we could have a real record of what a Black woman and the aesthetic looks like.”\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shawna Sherman, manager of the library’s African American Center, says greenlighting the exhibition was a no-brainer once the team saw the images. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_102326,arts_13936457,arts_13920049","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“You could tell that Kenneth Green Sr. really loved the Black community in these photos,” she says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Green Sr. knew the community well, too. He grew up in San Francisco, graduating from Balboa High School in 1958 before getting his photography degree from Laney College. He later settled in Oakland on Fruitvale Avenue and 19th Street with his family.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The African American Center, on the library’s third floor, displays more of Green Sr.’s photos — specifically, rare photos of the African Liberation Day demonstration in San Francisco in 1972 that further underline the significance of his work in capturing Bay Area history. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I haven’t been able to find other images of African Liberation Day in San Francisco, you know, besides these photographs,” Sherman says. “We’re very lucky that he was there.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13950889\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950889\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-800x1206.jpg\" alt=\"A Black woman holds a sign that reads African Liberation Day May 27, 1972.\" width=\"800\" height=\"1206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-800x1206.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-1019x1536.jpg 1019w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-1920x2895.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-scaled.jpg 1698w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman holds a sign for African Liberation Day on May 27, 1972. \u003ccite>(Kenneth P. Green Sr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I ask Green Jr. what he believes his father would think about this exhibition and all the work his son has been doing to keep his memory alive, he says his father would “be speechless.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think he would literally be shocked and in awe of celebrating the life work of Ken Green,” he adds. “Something that he did from his heart, that was a passion, that led to being really a very important memory and jewel of Bay Area, Oakland, San Francisco history.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A history anyone can now see and enjoy, for free.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">“\u003ca href=\"https://sfpl.org/exhibits/2024/01/25/toward-black-aesthetic-kenneth-p-green-srs-photographs-1960s-and-70s\">Toward a Black Aesthetic: Kenneth P. Green Sr.’s Photographs of the 1960s and 70s\u003c/a>” is on view at San Francisco’s Main Public Library through April 21. \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">A related author talk between Dr. Tanisha Ford and Dr. Tiffany E. Barber will be held at the library on Feb. 28.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950886/oakland-tribune-first-black-photojournalist-exhibit-sf-public-library","authors":["11296"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_10342","arts_10278","arts_1143","arts_822","arts_3573","arts_585"],"featImg":"arts_13950930","label":"source_arts_13950886"},"arts_13911977":{"type":"posts","id":"arts_13911977","meta":{"index":"posts_1591205157","site":"arts","id":"13911977","score":null,"sort":[1650470414000]},"guestAuthors":[],"slug":"dazie-grego-middle-passaged","title":"Dazié Grego, 'Middle Passaged'","publishDate":1650470414,"format":"aside","headTitle":"Dazié Grego, ‘Middle Passaged’ | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13912168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/DazieGrego.MAIN_-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13912168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/DazieGrego.MAIN_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/DazieGrego.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/DazieGrego.MAIN_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/DazieGrego.MAIN_.jpg 854w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Dazié Grego. \u003ccite>(Courtesy Dazié Grego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Welcome to \u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\">National Poetry Month\u003c/a>. Twice each week in April, KQED Arts & Culture will present a poem by a Bay Area poet. This \u003ca href=\"https://www.kqed.org/arts/tag/poetry\" target=\"_blank\" rel=\"noopener noreferrer\">series\u003c/a> is curated by \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em> host \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a>, who also speaks with each poet about their work. \u003c/em>\u003c/p>\n\u003ch2>‘Middle Passaged,’ by Dazié Grego\u003c/h2>\n\u003cp>\u003cem>Born of cotton wombs\u003c/em>\u003c/p>\n\u003cp>\u003cem>Softly whipped\u003c/em>\u003c/p>\n\u003cp>\u003cem>to coffin\u003c/em>\u003c/p>\n\u003cp>\u003cem>Nappy hair to prune\u003c/em>\u003c/p>\n\u003cp>\u003cem>in hopes to stop the laughin’\u003c/em>\u003c/p>\n\u003cp>\u003cem>Blistered foot is doomed\u003c/em>\u003c/p>\n\u003cp>\u003cem>to walk, another day\u003c/em>\u003c/p>\n\u003cp>\u003cem>Uneducated tongue\u003c/em>\u003c/p>\n\u003cp>\u003cem>careful what you say\u003c/em>\u003c/p>\n\u003cp>\u003cem>Broke shoulders spend your life\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hesitant but look\u003c/em>\u003c/p>\n\u003cp>\u003cem>See not what holds today\u003c/em>\u003c/p>\n\u003cp>\u003cem>but pray for what’s been took\u003c/em>\u003c/p>\n\u003cp>\u003cem>We connect to our ancestors\u003c/em>\u003c/p>\n\u003cp>\u003cem>through the dialect we speak.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We protect our broken English\u003c/em>\u003c/p>\n\u003cp>\u003cem>Our so called “poor” grammar\u003c/em>\u003c/p>\n\u003cp>\u003cem>Because more important than any language\u003c/em>\u003c/p>\n\u003cp>\u003cem>is the oral history we must keep\u003c/em>\u003c/p>\n\u003cp>\u003cem>It is swimming between our tongues\u003c/em>\u003c/p>\n\u003cp>\u003cem>and the very roof of our mouths.\u003c/em>\u003c/p>\n\u003cp>\u003cem>It is an accent from Africa, United States\u003c/em>\u003c/p>\n\u003cp>\u003cem>North or South\u003c/em>\u003c/p>\n\u003cp>\u003cem>We are the children who have no written language\u003c/em>\u003c/p>\n\u003cp>\u003cem>We hieroglyph pilgrims of the ocean\u003c/em>\u003c/p>\n\u003cp>\u003cem>We Voo Doo Prince\u003c/em>\u003c/p>\n\u003cp>\u003cem>Eyes weeping willows\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green moss and forgotten days of mounting lions\u003c/em>\u003c/p>\n\u003cp>\u003cem>who still know our names.\u003c/em>\u003c/p>\n\u003cp>\u003cem>They pace behind bars\u003c/em>\u003c/p>\n\u003cp>\u003cem>in zoos\u003c/em>\u003c/p>\n\u003cp>\u003cem>Not unlike to many young Black brothers\u003c/em>\u003c/p>\n\u003cp>\u003cem>The growls disturb the once sweet dreams\u003c/em>\u003c/p>\n\u003cp>\u003cem>We hear them under covers\u003c/em>\u003c/p>\n\u003cp>\u003cem>Can’t reach for the hand of God\u003c/em>\u003c/p>\n\u003cp>\u003cem>but passed the hand of mothers\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hoard the love that’s in your heart\u003c/em>\u003c/p>\n\u003cp>\u003cem>then look for some from others\u003c/em>\u003c/p>\n\u003cp>\u003cem>He thrashes his hips against his lover\u003c/em>\u003c/p>\n\u003cp>\u003cem>Refuses to turn over\u003c/em>\u003c/p>\n\u003cp>\u003cem>and become receptive\u003c/em>\u003c/p>\n\u003cp>\u003cem>Believes that death is born of absorbing\u003c/em>\u003c/p>\n\u003cp>\u003cem>His lovers own dying seed\u003c/em>\u003c/p>\n\u003cp>\u003cem>Nothing grows.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Wearing skin\u003c/em>\u003c/p>\n\u003cp>\u003cem>like withered leaves\u003c/em>\u003c/p>\n\u003cp>\u003cem>Press your ear to my chest\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hear the mischievous wind\u003c/em>\u003c/p>\n\u003cp>\u003cem>left seeping,\u003c/em>\u003c/p>\n\u003cp>\u003cem>heart keeping\u003c/em>\u003c/p>\n\u003cp>\u003cem>Kisses left by breath\u003c/em>\u003c/p>\n\u003cp>\u003cem>that can not be perceived\u003c/em>\u003c/p>\n\u003cp>\u003cem>Do not forget\u003c/em>\u003c/p>\n\u003cp>\u003cem>the beloved can always leave\u003c/em>\u003c/p>\n\u003cp>\u003cem>Water thrusts spilling blood of pirates\u003c/em>\u003c/p>\n\u003cp>\u003cem>with swords unsheathed\u003c/em>\u003c/p>\n\u003cp>\u003cem>Froth on the shore\u003c/em>\u003c/p>\n\u003cp>\u003cem>Un-drying saliva of Africans bones and names\u003c/em>\u003c/p>\n\u003cp>\u003cem>that will never be retrieved\u003c/em>\u003c/p>\n\u003cp>\u003cem>I look to her call out cousin\u003c/em>\u003c/p>\n\u003cp>\u003cem>scream “uncle”\u003c/em>\u003c/p>\n\u003cp>\u003cem>Cry do you remember me?\u003c/em>\u003c/p>\n\u003cp>\u003cem>Was it the vessel, the ocean, or pale skins\u003c/em>\u003c/p>\n\u003cp>\u003cem>that stole you from me?\u003c/em>\u003c/p>\n\u003cp>\u003cem>No tears travel from the green in my Atlantic\u003c/em>\u003c/p>\n\u003cp>\u003cem>I middle passaged tenderly.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13912130\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/download-1-e1650386603715-800x935.jpg\" alt=\"Poet Dazié Grego wears a black sweater while posing and looking directly into the camera.\" width=\"600\" height=\"700\" class=\"size-medium wp-image-13912130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-1-e1650386603715-800x935.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-1-e1650386603715-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-1-e1650386603715-768x897.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-1-e1650386603715.jpg 854w\" sizes=\"(max-width: 600px) 100vw, 600px\" />\u003cfigcaption class=\"wp-caption-text\">Oakland poet Dazié Grego. \u003ccite>(Courtesy Dazié Grego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Pendarvis Harshaw: What inspired this piece?\u003c/strong>\u003c/p>\n\u003cp>Dazié Grego: This poem was born in an attempt to identify the moment in our history that an African womb became “a cotton womb.” One giving birth to an African child. The other producing a Black slave. “Born of cotton wombs” was a thought that I felt compelled to complete. I investigate the origin of Blackness throughout many of my poems. In other words, I am inspired by exploring how our survival in this country has caused Africans to transform into Black Americans. I see the Middle Passage as the first major catalyst in producing that change.\u003c/p>\n\u003cp>\u003cstrong>When you write or perform, do you feel a connection to your ancestors? If so, can you describe that feeling?\u003c/strong>\u003c/p>\n\u003cp>Poetry is the language my ancestors speak. Often, I have said that I don’t possess the gift of writing. It is a gift that possesses me. Some of my best work was written as if I was being dictated to by an outside force. That force is the collective voice of my ancestors. It tells me who I am, and whose I am.\u003c/p>\n\u003cp>\u003cstrong>What is the role of poetry in society?\u003c/strong>\u003c/p>\n\u003cp>Poems are playgrounds for our words and a refuge to our emotions. They are the essence of empathy, mirrors we use to reveal the true nature of our humanity. Poetry is where society looks in order to experience us as our highest selves. It is the origin of self-revelation. When all other forms of communication have failed, we write and read poems.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>Dazié Grego performs on May 14 and 15 at 3pm at the main branch of the San Francisco Public Library as part of Skywatchers, a Tenderloin performance art ensemble of which he is an associate artistic director. \u003ca href=\"https://www.abdproductions.org\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Grego’s 2020 poetry collection ‘Black Faggotry’ (Nomadic Press) is \u003ca href=\"https://www.nomadicpress.org/store/p/blackfaggotry\" target=\"_blank\" rel=\"noopener noreferrer\">available here\u003c/a>, and his spoken word album ‘Make Me Black’ is \u003ca href=\"https://www.daziegrego.com/commercial\" target=\"_blank\" rel=\"noopener noreferrer\">available here\u003c/a>. \u003c/em>\u003c/p>\n","blocks":[],"excerpt":"Read Oakland poet's Dazié Grego's investigation of 'the origin of Blackness,' a powerful tribute to his ancestors. ","status":"publish","parent":0,"modified":1705006955,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":76,"wordCount":719},"headData":{"title":"National Poetry Month: Dazié Grego, 'Middle Passaged' | KQED","description":"Read Oakland poet's Dazié Grego's investigation of 'the origin of Blackness,' a powerful tribute to his ancestors. ","ogTitle":"National Poetry Month: Dazié Grego, 'Middle Passaged'","ogDescription":"","ogImgId":"","twTitle":"National Poetry Month: Dazié Grego, 'Middle Passaged'","twDescription":"","twImgId":"","socialTitle":"National Poetry Month: Dazié Grego, 'Middle Passaged' %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Dazié Grego, 'Middle Passaged'","datePublished":"2022-04-20T16:00:14.000Z","dateModified":"2024-01-11T21:02:35.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"National Poetry Month","sourceUrl":"https://www.kqed.org/arts/tag/poetry","sticky":false,"nprByline":"Dazié Grego and Pendarvis Harshaw","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"Yes","articleAge":"0","path":"/arts/13911977/dazie-grego-middle-passaged","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13912168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/DazieGrego.MAIN_-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13912168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/DazieGrego.MAIN_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/DazieGrego.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/DazieGrego.MAIN_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/DazieGrego.MAIN_.jpg 854w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Dazié Grego. \u003ccite>(Courtesy Dazié Grego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Welcome to \u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\">National Poetry Month\u003c/a>. Twice each week in April, KQED Arts & Culture will present a poem by a Bay Area poet. This \u003ca href=\"https://www.kqed.org/arts/tag/poetry\" target=\"_blank\" rel=\"noopener noreferrer\">series\u003c/a> is curated by \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em> host \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a>, who also speaks with each poet about their work. \u003c/em>\u003c/p>\n\u003ch2>‘Middle Passaged,’ by Dazié Grego\u003c/h2>\n\u003cp>\u003cem>Born of cotton wombs\u003c/em>\u003c/p>\n\u003cp>\u003cem>Softly whipped\u003c/em>\u003c/p>\n\u003cp>\u003cem>to coffin\u003c/em>\u003c/p>\n\u003cp>\u003cem>Nappy hair to prune\u003c/em>\u003c/p>\n\u003cp>\u003cem>in hopes to stop the laughin’\u003c/em>\u003c/p>\n\u003cp>\u003cem>Blistered foot is doomed\u003c/em>\u003c/p>\n\u003cp>\u003cem>to walk, another day\u003c/em>\u003c/p>\n\u003cp>\u003cem>Uneducated tongue\u003c/em>\u003c/p>\n\u003cp>\u003cem>careful what you say\u003c/em>\u003c/p>\n\u003cp>\u003cem>Broke shoulders spend your life\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hesitant but look\u003c/em>\u003c/p>\n\u003cp>\u003cem>See not what holds today\u003c/em>\u003c/p>\n\u003cp>\u003cem>but pray for what’s been took\u003c/em>\u003c/p>\n\u003cp>\u003cem>We connect to our ancestors\u003c/em>\u003c/p>\n\u003cp>\u003cem>through the dialect we speak.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We protect our broken English\u003c/em>\u003c/p>\n\u003cp>\u003cem>Our so called “poor” grammar\u003c/em>\u003c/p>\n\u003cp>\u003cem>Because more important than any language\u003c/em>\u003c/p>\n\u003cp>\u003cem>is the oral history we must keep\u003c/em>\u003c/p>\n\u003cp>\u003cem>It is swimming between our tongues\u003c/em>\u003c/p>\n\u003cp>\u003cem>and the very roof of our mouths.\u003c/em>\u003c/p>\n\u003cp>\u003cem>It is an accent from Africa, United States\u003c/em>\u003c/p>\n\u003cp>\u003cem>North or South\u003c/em>\u003c/p>\n\u003cp>\u003cem>We are the children who have no written language\u003c/em>\u003c/p>\n\u003cp>\u003cem>We hieroglyph pilgrims of the ocean\u003c/em>\u003c/p>\n\u003cp>\u003cem>We Voo Doo Prince\u003c/em>\u003c/p>\n\u003cp>\u003cem>Eyes weeping willows\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green moss and forgotten days of mounting lions\u003c/em>\u003c/p>\n\u003cp>\u003cem>who still know our names.\u003c/em>\u003c/p>\n\u003cp>\u003cem>They pace behind bars\u003c/em>\u003c/p>\n\u003cp>\u003cem>in zoos\u003c/em>\u003c/p>\n\u003cp>\u003cem>Not unlike to many young Black brothers\u003c/em>\u003c/p>\n\u003cp>\u003cem>The growls disturb the once sweet dreams\u003c/em>\u003c/p>\n\u003cp>\u003cem>We hear them under covers\u003c/em>\u003c/p>\n\u003cp>\u003cem>Can’t reach for the hand of God\u003c/em>\u003c/p>\n\u003cp>\u003cem>but passed the hand of mothers\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hoard the love that’s in your heart\u003c/em>\u003c/p>\n\u003cp>\u003cem>then look for some from others\u003c/em>\u003c/p>\n\u003cp>\u003cem>He thrashes his hips against his lover\u003c/em>\u003c/p>\n\u003cp>\u003cem>Refuses to turn over\u003c/em>\u003c/p>\n\u003cp>\u003cem>and become receptive\u003c/em>\u003c/p>\n\u003cp>\u003cem>Believes that death is born of absorbing\u003c/em>\u003c/p>\n\u003cp>\u003cem>His lovers own dying seed\u003c/em>\u003c/p>\n\u003cp>\u003cem>Nothing grows.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Wearing skin\u003c/em>\u003c/p>\n\u003cp>\u003cem>like withered leaves\u003c/em>\u003c/p>\n\u003cp>\u003cem>Press your ear to my chest\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hear the mischievous wind\u003c/em>\u003c/p>\n\u003cp>\u003cem>left seeping,\u003c/em>\u003c/p>\n\u003cp>\u003cem>heart keeping\u003c/em>\u003c/p>\n\u003cp>\u003cem>Kisses left by breath\u003c/em>\u003c/p>\n\u003cp>\u003cem>that can not be perceived\u003c/em>\u003c/p>\n\u003cp>\u003cem>Do not forget\u003c/em>\u003c/p>\n\u003cp>\u003cem>the beloved can always leave\u003c/em>\u003c/p>\n\u003cp>\u003cem>Water thrusts spilling blood of pirates\u003c/em>\u003c/p>\n\u003cp>\u003cem>with swords unsheathed\u003c/em>\u003c/p>\n\u003cp>\u003cem>Froth on the shore\u003c/em>\u003c/p>\n\u003cp>\u003cem>Un-drying saliva of Africans bones and names\u003c/em>\u003c/p>\n\u003cp>\u003cem>that will never be retrieved\u003c/em>\u003c/p>\n\u003cp>\u003cem>I look to her call out cousin\u003c/em>\u003c/p>\n\u003cp>\u003cem>scream “uncle”\u003c/em>\u003c/p>\n\u003cp>\u003cem>Cry do you remember me?\u003c/em>\u003c/p>\n\u003cp>\u003cem>Was it the vessel, the ocean, or pale skins\u003c/em>\u003c/p>\n\u003cp>\u003cem>that stole you from me?\u003c/em>\u003c/p>\n\u003cp>\u003cem>No tears travel from the green in my Atlantic\u003c/em>\u003c/p>\n\u003cp>\u003cem>I middle passaged tenderly.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13912130\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/download-1-e1650386603715-800x935.jpg\" alt=\"Poet Dazié Grego wears a black sweater while posing and looking directly into the camera.\" width=\"600\" height=\"700\" class=\"size-medium wp-image-13912130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-1-e1650386603715-800x935.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-1-e1650386603715-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-1-e1650386603715-768x897.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-1-e1650386603715.jpg 854w\" sizes=\"(max-width: 600px) 100vw, 600px\" />\u003cfigcaption class=\"wp-caption-text\">Oakland poet Dazié Grego. \u003ccite>(Courtesy Dazié Grego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Pendarvis Harshaw: What inspired this piece?\u003c/strong>\u003c/p>\n\u003cp>Dazié Grego: This poem was born in an attempt to identify the moment in our history that an African womb became “a cotton womb.” One giving birth to an African child. The other producing a Black slave. “Born of cotton wombs” was a thought that I felt compelled to complete. I investigate the origin of Blackness throughout many of my poems. In other words, I am inspired by exploring how our survival in this country has caused Africans to transform into Black Americans. I see the Middle Passage as the first major catalyst in producing that change.\u003c/p>\n\u003cp>\u003cstrong>When you write or perform, do you feel a connection to your ancestors? If so, can you describe that feeling?\u003c/strong>\u003c/p>\n\u003cp>Poetry is the language my ancestors speak. Often, I have said that I don’t possess the gift of writing. It is a gift that possesses me. Some of my best work was written as if I was being dictated to by an outside force. That force is the collective voice of my ancestors. It tells me who I am, and whose I am.\u003c/p>\n\u003cp>\u003cstrong>What is the role of poetry in society?\u003c/strong>\u003c/p>\n\u003cp>Poems are playgrounds for our words and a refuge to our emotions. They are the essence of empathy, mirrors we use to reveal the true nature of our humanity. Poetry is where society looks in order to experience us as our highest selves. It is the origin of self-revelation. When all other forms of communication have failed, we write and read poems.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>Dazié Grego performs on May 14 and 15 at 3pm at the main branch of the San Francisco Public Library as part of Skywatchers, a Tenderloin performance art ensemble of which he is an associate artistic director. \u003ca href=\"https://www.abdproductions.org\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Grego’s 2020 poetry collection ‘Black Faggotry’ (Nomadic Press) is \u003ca href=\"https://www.nomadicpress.org/store/p/blackfaggotry\" target=\"_blank\" rel=\"noopener noreferrer\">available here\u003c/a>, and his spoken word album ‘Make Me Black’ is \u003ca href=\"https://www.daziegrego.com/commercial\" target=\"_blank\" rel=\"noopener noreferrer\">available here\u003c/a>. \u003c/em>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13911977/dazie-grego-middle-passaged","authors":["byline_arts_13911977"],"categories":["arts_1","arts_73"],"tags":["arts_10278","arts_13982","arts_17282","arts_1143","arts_1496","arts_3573"],"featImg":"arts_13912163","label":"source_arts_13911977"},"arts_13910612":{"type":"posts","id":"arts_13910612","meta":{"index":"posts_1591205157","site":"arts","id":"13910612","score":null,"sort":[1647463625000]},"guestAuthors":[],"slug":"the-cockettes-san-francisco-public-library-fayette-hauser-scrumbly","title":"Celebrating the Sexual Anarchy of The Cockettes at the San Francisco Public Library","publishDate":1647463625,"format":"standard","headTitle":"Celebrating the Sexual Anarchy of The Cockettes at the San Francisco Public Library | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The year was 1969. Stonewall was kickstarting an LGBTQ+ revolution. Feminism’s second wave was hitting mainstream culture with a list of demands. And in San Francisco, a tight community of flamboyant hippies were out in front of it all, rejecting gender constructs altogether and trying to liberate the world. (Via free love and show tunes, among other things.)\u003c/p>\n\u003cp>They were The Cockettes, a group of performers for whom drag was a way of life. They embraced LSD, communal living and a hefty dose of exhibitionism. Their ranks included disco superstar \u003ca href=\"https://www.youtube.com/watch?v=gD6cPE2BHic\" target=\"_blank\" rel=\"noopener noreferrer\">Sylvester\u003c/a>, and \u003ca href=\"https://www.famousfix.com/topic/miss-harlow\" target=\"_blank\" rel=\"noopener noreferrer\">Miss Harlow\u003c/a>—a groupie who, alongside her friend \u003ca href=\"https://pleasekillme.com/cynthia-plaster-caster/\" target=\"_blank\" rel=\"noopener noreferrer\">Cynthia Plaster Caster\u003c/a>, helped immortalize the genitals of the biggest rock stars of the day. For a decade, The Cockettes enthralled audiences. First, with anarchic, boundary-pushing musical theater and later, with bizarre, low-budget movies. That they were friends with John Waters and Divine should come as no surprise. That their fans included Janis Joplin, John Lennon and Andy Warhol is even more noteworthy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gD6cPE2BHic\u003c/p>\n\u003cp>Starting this month, San Francisco’s main library is honoring The Cockettes with an exhibition at the Hormel LGBTQIA Center and a series of events that will run through August. The exhibition, titled \u003ci>The Cockettes: Acid Drag & Sexual Anarchy\u003c/i> pulls together photos and memories from original Cockette, Fayette Hauser, along with material from other people’s personal collections.\u003c/p>\n\u003cp>Hanging on the Hormel’s interior and the walls immediately outside it, the collection explains who The Cockettes were and why each individual was special. Cabinets with flyers and magazine articles from the 1970s, along with one costume and a table of personal accessories are also featured. As is a Spotify playlist of music from the era that feels decidedly straight-laced for a Cockettes exhibit. (Artists featured include The Beatles, Creedence Clearwater Revival and Free.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those familiar with this period of San Francisco history—especially the ones who have already seen the 2002 documentary, \u003ca href=\"https://www.cockettes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Cockettes\u003c/em>\u003c/a>—will not likely learn much from this exhibit they didn’t already know. But for newbies unfamiliar with this particular group of misfits, it’s a decent primer that piques the interest enough to prompt further research. The most valuable historical information, however, will likely come during the library’s five upcoming events in The Cockettes’ honor.\u003c/p>\n\u003cp>During the opening reception this Thursday, March 17, Hauser will share personal reminiscences in conversation with journalist and San Francisco historian Jim Van Buskirk. Hauser will also be back on March 31 to talk about her book, \u003ca href=\"https://thecockettes.net/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Cockettes: Acid Drag & Sexual Anarchy\u003c/em>\u003c/a>. Most exciting of all, on April 28, there will be a screening of three Cockettes movies—\u003cem>Palace\u003c/em>, \u003cem>Elevator Girls in Bondage\u003c/em> and \u003cem>Tricia’s Wedding\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OgWJFdeZD4o\u003c/p>\n\u003cp>Those wishing to get a flavor of the group’s original stage shows might wish to attend a night of “Cockette Cabaret” featuring “\u003ca href=\"http://www.scrumblymusic.com/pages/bio.html\" target=\"_blank\" rel=\"noopener noreferrer\">Scrumbly & Co.\u003c/a>” on June 23. Hauser will also present a spoken word performance on May 26 backed up by circus troupe, the \u003ca href=\"https://vaudeviresociety.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vau de Vire Society\u003c/a>.\u003c/p>\n\u003cp>Keep in mind before attending all or any of the above that John Waters—the King of Bad Taste, himself—has been known to refer to The Cockettes as “hippie acid freak drag queens” \u003cem>and\u003c/em> “complete sexual anarchy.” You have been warned.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Cockettes: Acid Drag & Sexual Anarchy’ is on view March 17–Aug. 11 in the James C. Hormel LGBTQIA Center on the third floor of the San Francisco Main Library (100 Larkin Street). \u003ca href=\"https://sfpl.org/exhibits/2022/03/12/cockettes-acid-drag-sexual-anarchy\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"An exhibition and event series honors the 50th anniversary of the much-loved gender-bending theater troupe.","status":"publish","parent":0,"modified":1705007086,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":619},"headData":{"title":"‘The Cockettes: Acid Drag & Sexual Anarchy’ at SFPL | KQED","description":"An exhibition and event series honors the 50th anniversary of the much-loved gender-bending theater troupe.","ogTitle":"Celebrating the Sexual Anarchy of The Cockettes at the San Francisco Public Library","ogDescription":"","ogImgId":"","twTitle":"Celebrating the Sexual Anarchy of The Cockettes at the San Francisco Public Library","twDescription":"","twImgId":"","socialTitle":"‘The Cockettes: Acid Drag & Sexual Anarchy’ at SFPL %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Celebrating the Sexual Anarchy of The Cockettes at the San Francisco Public Library","datePublished":"2022-03-16T20:47:05.000Z","dateModified":"2024-01-11T21:04:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13910612/the-cockettes-san-francisco-public-library-fayette-hauser-scrumbly","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year was 1969. Stonewall was kickstarting an LGBTQ+ revolution. Feminism’s second wave was hitting mainstream culture with a list of demands. And in San Francisco, a tight community of flamboyant hippies were out in front of it all, rejecting gender constructs altogether and trying to liberate the world. (Via free love and show tunes, among other things.)\u003c/p>\n\u003cp>They were The Cockettes, a group of performers for whom drag was a way of life. They embraced LSD, communal living and a hefty dose of exhibitionism. Their ranks included disco superstar \u003ca href=\"https://www.youtube.com/watch?v=gD6cPE2BHic\" target=\"_blank\" rel=\"noopener noreferrer\">Sylvester\u003c/a>, and \u003ca href=\"https://www.famousfix.com/topic/miss-harlow\" target=\"_blank\" rel=\"noopener noreferrer\">Miss Harlow\u003c/a>—a groupie who, alongside her friend \u003ca href=\"https://pleasekillme.com/cynthia-plaster-caster/\" target=\"_blank\" rel=\"noopener noreferrer\">Cynthia Plaster Caster\u003c/a>, helped immortalize the genitals of the biggest rock stars of the day. For a decade, The Cockettes enthralled audiences. First, with anarchic, boundary-pushing musical theater and later, with bizarre, low-budget movies. That they were friends with John Waters and Divine should come as no surprise. That their fans included Janis Joplin, John Lennon and Andy Warhol is even more noteworthy.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gD6cPE2BHic'\n title='//www.youtube.com/embed/gD6cPE2BHic'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Starting this month, San Francisco’s main library is honoring The Cockettes with an exhibition at the Hormel LGBTQIA Center and a series of events that will run through August. The exhibition, titled \u003ci>The Cockettes: Acid Drag & Sexual Anarchy\u003c/i> pulls together photos and memories from original Cockette, Fayette Hauser, along with material from other people’s personal collections.\u003c/p>\n\u003cp>Hanging on the Hormel’s interior and the walls immediately outside it, the collection explains who The Cockettes were and why each individual was special. Cabinets with flyers and magazine articles from the 1970s, along with one costume and a table of personal accessories are also featured. As is a Spotify playlist of music from the era that feels decidedly straight-laced for a Cockettes exhibit. (Artists featured include The Beatles, Creedence Clearwater Revival and Free.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those familiar with this period of San Francisco history—especially the ones who have already seen the 2002 documentary, \u003ca href=\"https://www.cockettes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Cockettes\u003c/em>\u003c/a>—will not likely learn much from this exhibit they didn’t already know. But for newbies unfamiliar with this particular group of misfits, it’s a decent primer that piques the interest enough to prompt further research. The most valuable historical information, however, will likely come during the library’s five upcoming events in The Cockettes’ honor.\u003c/p>\n\u003cp>During the opening reception this Thursday, March 17, Hauser will share personal reminiscences in conversation with journalist and San Francisco historian Jim Van Buskirk. Hauser will also be back on March 31 to talk about her book, \u003ca href=\"https://thecockettes.net/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Cockettes: Acid Drag & Sexual Anarchy\u003c/em>\u003c/a>. Most exciting of all, on April 28, there will be a screening of three Cockettes movies—\u003cem>Palace\u003c/em>, \u003cem>Elevator Girls in Bondage\u003c/em> and \u003cem>Tricia’s Wedding\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OgWJFdeZD4o'\n title='//www.youtube.com/embed/OgWJFdeZD4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Those wishing to get a flavor of the group’s original stage shows might wish to attend a night of “Cockette Cabaret” featuring “\u003ca href=\"http://www.scrumblymusic.com/pages/bio.html\" target=\"_blank\" rel=\"noopener noreferrer\">Scrumbly & Co.\u003c/a>” on June 23. Hauser will also present a spoken word performance on May 26 backed up by circus troupe, the \u003ca href=\"https://vaudeviresociety.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vau de Vire Society\u003c/a>.\u003c/p>\n\u003cp>Keep in mind before attending all or any of the above that John Waters—the King of Bad Taste, himself—has been known to refer to The Cockettes as “hippie acid freak drag queens” \u003cem>and\u003c/em> “complete sexual anarchy.” You have been warned.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Cockettes: Acid Drag & Sexual Anarchy’ is on view March 17–Aug. 11 in the James C. Hormel LGBTQIA Center on the third floor of the San Francisco Main Library (100 Larkin Street). \u003ca href=\"https://sfpl.org/exhibits/2022/03/12/cockettes-acid-drag-sexual-anarchy\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13910612/the-cockettes-san-francisco-public-library-fayette-hauser-scrumbly","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_7862","arts_11615"],"tags":["arts_5426","arts_8530","arts_10342","arts_10278","arts_977","arts_3226","arts_3573","arts_1386","arts_1072","arts_585"],"featImg":"arts_13910625","label":"arts_140"},"arts_13902953":{"type":"posts","id":"arts_13902953","meta":{"index":"posts_1591205157","site":"arts","id":"13902953","score":null,"sort":[1634140852000]},"guestAuthors":[],"slug":"alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin","title":"A Portal to San Francisco’s Punk Rock Past","publishDate":1634140852,"format":"standard","headTitle":"A Portal to San Francisco’s Punk Rock Past | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A topless bride entering a nightclub, bouquet in one hand, cigarette in the other. Performance art presented in a literal pit on Valencia Street. A band meeting held in the sliver of space between two houses. All are moments from \u003cem>Alternative Voices—\u003c/em>an exhibit featuring black-and-white photos by \u003ca href=\"https://www.jeannemhansen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeanne Hansen\u003c/a>, taken in and around San Francisco’s underground 1980s punk scene.\u003c/p>\n\u003cp>Displayed on the lower level of the San Francisco Public Library and accompanied by interviews by \u003ca href=\"http://jonahraskinwriter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jonah Raskin\u003c/a> with 16 scene regulars from the era, \u003cem>Alternative Voices\u003c/em> offers snippets from \u003ca href=\"https://www.jeannemhansen.com/books/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">Hansen and Raskin’s new book\u003c/a> of the same name, alongside zines, flyers and other ephemera. The exhibit works as a time machine back to a San Francisco long since vanished, and a window into the shows, protests, punk houses and venues of the period.\u003c/p>\n\u003cfigure id=\"attachment_13904502\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-800x532.png\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM.png 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A protest incorporating street theater by The Urban Rats, Valencia and 16th, 1983. \u003ccite>(Jeanne Hansen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_13871151']The venues, in particular, offer vivid context for where all the action used to be. Before The Stud became a beloved landmark, it was Club Nine, punk rock venue. Where Amado’s now stands at 998 Valencia, there was The Offensive—a venue perfectly in line with its next-door neighbor, the (still standing) \u003ca href=\"http://www.atasite.org/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Artists’ Television Access\u003c/a> performance space. There was Club Foot in the Bayview, which spawned a house band called the \u003ca href=\"https://en.wikipedia.org/wiki/Club_Foot_Orchestra\" target=\"_blank\" rel=\"noopener noreferrer\">Club Foot Orchestra\u003c/a> that still performs today. What was once The Sound of Music at 162 Turk Street is now just another \u003ca href=\"https://www.loopnet.com/property/162-Turk-St-San-Francisco-CA-94102/06075-0339%20009/\" target=\"_blank\" rel=\"noopener noreferrer\">nondescript building\u003c/a> in the Tenderloin. And one has to wonder which apartment block on 15th and Ramona once housed a club named Attitude.\u003c/p>\n\u003cp>Most fascinating of all was The Deaf Club, upstairs at 530 Valencia (now \u003ca href=\"https://www.yelp.com/biz/los-amigos-s-f-cuisine-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Los Amigos\u003c/a> restaurant). By day, the venue was a community center for the deaf. By night, Daphne Hanrahan, then-manager of The Offs, would rent the club to put on punk shows. Deaf patrons quickly discovered that they loved the genre, and became regular attendees. \u003ca href=\"https://dangerousminds.net/comments/the_roots_of_san_francisco_punk_the_deaf_club_1978-1980\" target=\"_blank\" rel=\"noopener noreferrer\">Penelope Houston of The Avengers\u003c/a> (not featured in \u003cem>Alternative Voices\u003c/em>) once said of the club: “It was kind of amazing. I think they were dancing to the vibrations. The deaf people were amused that all these punks wanted to come in and rent their room and have these shows.” \u003cem>Alternative Voices\u003c/em> features footage of a 1979 show at the club, borrowed from BAMPFA.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cuteRr0eq5s&t=65s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Where this exhibit gets stymied, however, is in its presentation of the interviews from the book. The photos lose some of their immediacy and impact because of the sheer length—and number—of interview texts also on the walls. \u003cem>Alternative Voices\u003c/em> would have greatly benefited by using select quotes from these conversations under each of the photos to contextualize them. Instead, attendees are met with scores of paragraphs from people they’ve likely never heard of.\u003c/p>\n\u003cp>The issue is exacerbated by the narrow demographics of the interview pool. Eleven of the subjects are men, five are women (two of whom come from the same band, Frightwig), and all of them appear to be white, undercutting many of their mid-interview assertions about diversity within the scene.\u003c/p>\n\u003cfigure id=\"attachment_13902959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-800x526.png\" alt=\"A woman with very short, cropped hair sits behind a radio mic and audio equipment, including an old fashioned switchboard telephone. Two men stand in front of her, also with radio microphones.\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-800x526.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-1020x671.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-768x505.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-1536x1010.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM.png 1894w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maximumrocknroll on KPFA. (L–R) Ruth Schwartz, Jeff Bale and Tim Yohannan in Berkeley, 1983. Yohannan founded the now legendary punk fanzine in 1982. MRR Radio still puts out weekly episodes. \u003ccite>(Courtesy of San Francisco Public Library/ Jeanne M. Hansen )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When the punk scene first started, it meant everything from three-chord hardcore bands to the most experimental performance art and everything in between,” says Robin Balliger from The Appliances in her displayed interview. “There was a lot of crossover with Black music and hip-hop. That’s missing from the history.”\u003c/p>\n\u003cp>It’s also missing from this exhibition.\u003c/p>\n\u003cp>In his interview, Matt Callahan from \u003ca href=\"https://www.youtube.com/watch?v=Uv1MGqznwjA\" target=\"_blank\" rel=\"noopener noreferrer\">The Looters\u003c/a> says, “We did our best to break the music industry’s rules and undermine white supremacy, which Reagan helped to boost.” It would have been significantly more meaningful to hear more about this—and about operating in a white-dominated scene—from one of Callahan’s Black bandmates. Drummer Ahaguna Sun, for example, who currently resides in Sacramento.\u003c/p>\n\u003cfigure id=\"attachment_13904478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904478\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-800x546.png\" alt=\"\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-800x546.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-1020x696.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-768x524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-1536x1049.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM.png 1778w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stannous Flouride attracts attention on a BART escalator, sometime in the early 1980s. \u003ccite>(Jeanne Hansen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re patient enough to wade through information about people’s hometowns and schools—details best left in the book—some of the stories in \u003cem>Alternative Voices\u003c/em>‘ interviews are very entertaining.\u003c/p>\n\u003cp>Tony Labat, a local artist, shares a tale about one of the most terrifying nights of his life. “When Club Nine was about to open, I decided to do a kind of stunt, and bring attention to the event,” he says. “I climbed a flagpole about twelve feet high with the help of a ladder, and sat on a little platform for about six hours. I’m super afraid of heights and was shaking the whole time.”\u003c/p>\n\u003cp>One of Hansen’s photos captures Labat perched precariously on the top of the flagpole.\u003c/p>\n\u003cp>[aside postid='arts_13894169']\u003cem>Damage\u003c/em> writer and Deaf Club door guy Stannous Flouride offers some colorful notes about squatting. “I was part of the Suicide Club,” Flouride explains, “an early expression of urban spelunkers, who went on outings at the abandoned National Guard Armory at 15th and Mission and at the Hamm’s Brewery on 16th and Potrero. Someone got a hold of a jackhammer, which we used to take out the doors and open holes in the giant tanks, and make living spaces. Punks moved in and squatted. It became known as The Vats.” \u003cem>[Editor’s note: Punk rock memories are famously fallible. The Hamm’s brewery, and The Vats squat, was not at 16th and Potrero; it was at 1550 Bryant. The Armory was not 15th and Mission, but was and still stands at 14th and Mission.] \u003c/em>\u003c/p>\n\u003cp>Ultimately, \u003cem>Alternative Voices\u003c/em> does do a very good job at encapsulating a very specific underground moment in San Francisco history—and it benefits from staying focused on the periphery. Though Dead Kennedys and Flipper get passing mentions, the better-known San Francisco punk artists of the era are decidedly not the focus here. Hansen’s lens was, instead, trained on the scrappers and rabble-rousers at the back of the room. Because of that, the scene she presents here still feels fresh, even after 40 years.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Alternative Voices’ is on display at the Central Library’s Jewett Gallery through Jan. 23, 2022. \u003ca href=\"https://sfpl.org/exhibits/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>. The \u003ca href=\"https://www.jeannemhansen.com/books/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">‘Alternative Voices’ book\u003c/a> is out now.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'Alternative Voices' offers an insider's look at 1980s San Francisco subculture through photos and interviews. ","status":"publish","parent":0,"modified":1705007621,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1139},"headData":{"title":"Punk Rock Photos from 1980s San Francisco on View | KQED","description":"'Alternative Voices' offers an insider's look at 1980s San Francisco subculture through photos and interviews. ","ogTitle":"A Portal to San Francisco’s Punk Rock Past","ogDescription":"","ogImgId":"","twTitle":"A Portal to San Francisco’s Punk Rock Past","twDescription":"","twImgId":"","socialTitle":"Punk Rock Photos from 1980s San Francisco on View %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Portal to San Francisco’s Punk Rock Past","datePublished":"2021-10-13T16:00:52.000Z","dateModified":"2024-01-11T21:13:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13902953/alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A topless bride entering a nightclub, bouquet in one hand, cigarette in the other. Performance art presented in a literal pit on Valencia Street. A band meeting held in the sliver of space between two houses. All are moments from \u003cem>Alternative Voices—\u003c/em>an exhibit featuring black-and-white photos by \u003ca href=\"https://www.jeannemhansen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeanne Hansen\u003c/a>, taken in and around San Francisco’s underground 1980s punk scene.\u003c/p>\n\u003cp>Displayed on the lower level of the San Francisco Public Library and accompanied by interviews by \u003ca href=\"http://jonahraskinwriter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jonah Raskin\u003c/a> with 16 scene regulars from the era, \u003cem>Alternative Voices\u003c/em> offers snippets from \u003ca href=\"https://www.jeannemhansen.com/books/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">Hansen and Raskin’s new book\u003c/a> of the same name, alongside zines, flyers and other ephemera. The exhibit works as a time machine back to a San Francisco long since vanished, and a window into the shows, protests, punk houses and venues of the period.\u003c/p>\n\u003cfigure id=\"attachment_13904502\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-800x532.png\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM.png 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A protest incorporating street theater by The Urban Rats, Valencia and 16th, 1983. \u003ccite>(Jeanne Hansen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13871151","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The venues, in particular, offer vivid context for where all the action used to be. Before The Stud became a beloved landmark, it was Club Nine, punk rock venue. Where Amado’s now stands at 998 Valencia, there was The Offensive—a venue perfectly in line with its next-door neighbor, the (still standing) \u003ca href=\"http://www.atasite.org/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Artists’ Television Access\u003c/a> performance space. There was Club Foot in the Bayview, which spawned a house band called the \u003ca href=\"https://en.wikipedia.org/wiki/Club_Foot_Orchestra\" target=\"_blank\" rel=\"noopener noreferrer\">Club Foot Orchestra\u003c/a> that still performs today. What was once The Sound of Music at 162 Turk Street is now just another \u003ca href=\"https://www.loopnet.com/property/162-Turk-St-San-Francisco-CA-94102/06075-0339%20009/\" target=\"_blank\" rel=\"noopener noreferrer\">nondescript building\u003c/a> in the Tenderloin. And one has to wonder which apartment block on 15th and Ramona once housed a club named Attitude.\u003c/p>\n\u003cp>Most fascinating of all was The Deaf Club, upstairs at 530 Valencia (now \u003ca href=\"https://www.yelp.com/biz/los-amigos-s-f-cuisine-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Los Amigos\u003c/a> restaurant). By day, the venue was a community center for the deaf. By night, Daphne Hanrahan, then-manager of The Offs, would rent the club to put on punk shows. Deaf patrons quickly discovered that they loved the genre, and became regular attendees. \u003ca href=\"https://dangerousminds.net/comments/the_roots_of_san_francisco_punk_the_deaf_club_1978-1980\" target=\"_blank\" rel=\"noopener noreferrer\">Penelope Houston of The Avengers\u003c/a> (not featured in \u003cem>Alternative Voices\u003c/em>) once said of the club: “It was kind of amazing. I think they were dancing to the vibrations. The deaf people were amused that all these punks wanted to come in and rent their room and have these shows.” \u003cem>Alternative Voices\u003c/em> features footage of a 1979 show at the club, borrowed from BAMPFA.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cuteRr0eq5s'\n title='//www.youtube.com/embed/cuteRr0eq5s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Where this exhibit gets stymied, however, is in its presentation of the interviews from the book. The photos lose some of their immediacy and impact because of the sheer length—and number—of interview texts also on the walls. \u003cem>Alternative Voices\u003c/em> would have greatly benefited by using select quotes from these conversations under each of the photos to contextualize them. Instead, attendees are met with scores of paragraphs from people they’ve likely never heard of.\u003c/p>\n\u003cp>The issue is exacerbated by the narrow demographics of the interview pool. Eleven of the subjects are men, five are women (two of whom come from the same band, Frightwig), and all of them appear to be white, undercutting many of their mid-interview assertions about diversity within the scene.\u003c/p>\n\u003cfigure id=\"attachment_13902959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-800x526.png\" alt=\"A woman with very short, cropped hair sits behind a radio mic and audio equipment, including an old fashioned switchboard telephone. Two men stand in front of her, also with radio microphones.\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-800x526.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-1020x671.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-768x505.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-1536x1010.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM.png 1894w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maximumrocknroll on KPFA. (L–R) Ruth Schwartz, Jeff Bale and Tim Yohannan in Berkeley, 1983. Yohannan founded the now legendary punk fanzine in 1982. MRR Radio still puts out weekly episodes. \u003ccite>(Courtesy of San Francisco Public Library/ Jeanne M. Hansen )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When the punk scene first started, it meant everything from three-chord hardcore bands to the most experimental performance art and everything in between,” says Robin Balliger from The Appliances in her displayed interview. “There was a lot of crossover with Black music and hip-hop. That’s missing from the history.”\u003c/p>\n\u003cp>It’s also missing from this exhibition.\u003c/p>\n\u003cp>In his interview, Matt Callahan from \u003ca href=\"https://www.youtube.com/watch?v=Uv1MGqznwjA\" target=\"_blank\" rel=\"noopener noreferrer\">The Looters\u003c/a> says, “We did our best to break the music industry’s rules and undermine white supremacy, which Reagan helped to boost.” It would have been significantly more meaningful to hear more about this—and about operating in a white-dominated scene—from one of Callahan’s Black bandmates. Drummer Ahaguna Sun, for example, who currently resides in Sacramento.\u003c/p>\n\u003cfigure id=\"attachment_13904478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904478\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-800x546.png\" alt=\"\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-800x546.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-1020x696.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-768x524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-1536x1049.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM.png 1778w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stannous Flouride attracts attention on a BART escalator, sometime in the early 1980s. \u003ccite>(Jeanne Hansen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re patient enough to wade through information about people’s hometowns and schools—details best left in the book—some of the stories in \u003cem>Alternative Voices\u003c/em>‘ interviews are very entertaining.\u003c/p>\n\u003cp>Tony Labat, a local artist, shares a tale about one of the most terrifying nights of his life. “When Club Nine was about to open, I decided to do a kind of stunt, and bring attention to the event,” he says. “I climbed a flagpole about twelve feet high with the help of a ladder, and sat on a little platform for about six hours. I’m super afraid of heights and was shaking the whole time.”\u003c/p>\n\u003cp>One of Hansen’s photos captures Labat perched precariously on the top of the flagpole.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13894169","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>Damage\u003c/em> writer and Deaf Club door guy Stannous Flouride offers some colorful notes about squatting. “I was part of the Suicide Club,” Flouride explains, “an early expression of urban spelunkers, who went on outings at the abandoned National Guard Armory at 15th and Mission and at the Hamm’s Brewery on 16th and Potrero. Someone got a hold of a jackhammer, which we used to take out the doors and open holes in the giant tanks, and make living spaces. Punks moved in and squatted. It became known as The Vats.” \u003cem>[Editor’s note: Punk rock memories are famously fallible. The Hamm’s brewery, and The Vats squat, was not at 16th and Potrero; it was at 1550 Bryant. The Armory was not 15th and Mission, but was and still stands at 14th and Mission.] \u003c/em>\u003c/p>\n\u003cp>Ultimately, \u003cem>Alternative Voices\u003c/em> does do a very good job at encapsulating a very specific underground moment in San Francisco history—and it benefits from staying focused on the periphery. Though Dead Kennedys and Flipper get passing mentions, the better-known San Francisco punk artists of the era are decidedly not the focus here. Hansen’s lens was, instead, trained on the scrappers and rabble-rousers at the back of the room. Because of that, the scene she presents here still feels fresh, even after 40 years.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Alternative Voices’ is on display at the Central Library’s Jewett Gallery through Jan. 23, 2022. \u003ca href=\"https://sfpl.org/exhibits/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>. The \u003ca href=\"https://www.jeannemhansen.com/books/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">‘Alternative Voices’ book\u003c/a> is out now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13902953/alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin","authors":["11242"],"categories":["arts_1","arts_7862","arts_11615","arts_75"],"tags":["arts_9964","arts_10278","arts_822","arts_913","arts_1146","arts_3573"],"featImg":"arts_13904503","label":"arts"},"arts_13896648":{"type":"posts","id":"arts_13896648","meta":{"index":"posts_1591205157","site":"arts","id":"13896648","score":null,"sort":[1620072184000]},"guestAuthors":[],"slug":"san-francisco-public-library-main-branch-reopens-to-cheers","title":"San Francisco Public Library Main Branch Reopens to Cheers","publishDate":1620072184,"format":"standard","headTitle":"San Francisco Public Library Main Branch Reopens to Cheers | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The San Francisco Main Library opened its doors to \u003ca href=\"https://www.facebook.com/sfpl.org/posts/10158892804730609\" rel=\"noopener noreferrer\" target=\"_blank\">cheering patrons\u003c/a> today for the first time since March 13, 2020.\u003c/p>\n\u003cp>The reopening kicks off a new program called “Browse and Bounce,” offering limited indoor service on the library’s first floor, Monday–Saturday, 10:00am–5:30pm and Sunday, noon–5:30pm. Additional branches in Chinatown (May 17); Mission Bay (May 18); Ortega, Richmond, and Visitacion Valley (June 21); and Excelsior (June 22) will reopen within the “Browse and Bounce” program in the coming weeks.\u003c/p>\n\u003cp>For the time being, patrons can browse library books, music, movies and more, and access the public computers for 50-minute sessions, as well as use the printers and photocopiers. Visits are limited to 60 minutes each. The library will continue to offer SFPL To-Go, which lets people pick up holds at the front door.\u003c/p>\n\u003cp>Additional floors of the Main Library will reopen as soon as staffing allows, but history buffs, long denied access to the \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco History Center\u003c/a> on the Main Library’s 6th floor, can visit that collection by appointment.\u003c/p>\n\u003cp>Capacity will be limited and patrons must maintain safety protocols, including social distancing and wearing masks. But even with these limitations (including no chairs for reading or study), today’s reopening was a joyous one for both library patrons and staff.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Additional branches in will reopen within the “Browse and Bounce” program in the coming weeks.","status":"publish","parent":0,"modified":1705019086,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":235},"headData":{"title":"San Francisco Public Library Main Branch Reopens to Cheers | KQED","description":"Additional branches in will reopen within the “Browse and Bounce” program in the coming weeks.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Francisco Public Library Main Branch Reopens to Cheers","datePublished":"2021-05-03T20:03:04.000Z","dateModified":"2024-01-12T00:24:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","justInHeadline":"The main branch of the San Francisco library has reopened for in-person use","path":"/arts/13896648/san-francisco-public-library-main-branch-reopens-to-cheers","redirect":{"type":"internal","url":"/coronavirusliveupdates/arts/13896648/san-francisco-public-library-main-branch-reopens-to-cheers"},"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Main Library opened its doors to \u003ca href=\"https://www.facebook.com/sfpl.org/posts/10158892804730609\" rel=\"noopener noreferrer\" target=\"_blank\">cheering patrons\u003c/a> today for the first time since March 13, 2020.\u003c/p>\n\u003cp>The reopening kicks off a new program called “Browse and Bounce,” offering limited indoor service on the library’s first floor, Monday–Saturday, 10:00am–5:30pm and Sunday, noon–5:30pm. Additional branches in Chinatown (May 17); Mission Bay (May 18); Ortega, Richmond, and Visitacion Valley (June 21); and Excelsior (June 22) will reopen within the “Browse and Bounce” program in the coming weeks.\u003c/p>\n\u003cp>For the time being, patrons can browse library books, music, movies and more, and access the public computers for 50-minute sessions, as well as use the printers and photocopiers. Visits are limited to 60 minutes each. The library will continue to offer SFPL To-Go, which lets people pick up holds at the front door.\u003c/p>\n\u003cp>Additional floors of the Main Library will reopen as soon as staffing allows, but history buffs, long denied access to the \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco History Center\u003c/a> on the Main Library’s 6th floor, can visit that collection by appointment.\u003c/p>\n\u003cp>Capacity will be limited and patrons must maintain safety protocols, including social distancing and wearing masks. But even with these limitations (including no chairs for reading or study), today’s reopening was a joyous one for both library patrons and staff.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/coronavirusliveupdates/arts/13896648/san-francisco-public-library-main-branch-reopens-to-cheers","authors":["61"],"categories":["arts_1","arts_73","arts_235"],"tags":["arts_9646","arts_10651","arts_10902","arts_3573"],"featImg":"arts_13896657","label":"arts"},"arts_13891522":{"type":"posts","id":"arts_13891522","meta":{"index":"posts_1591205157","site":"arts","id":"13891522","score":null,"sort":[1611182531000]},"guestAuthors":[],"slug":"third-annual-night-of-ideas-pulls-together-leaders-thinkers-artists","title":"Third Annual 'Night of Ideas' Pulls Together Leaders, Thinkers, Artists","publishDate":1611182531,"format":"standard","headTitle":"Third Annual ‘Night of Ideas’ Pulls Together Leaders, Thinkers, Artists | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Although we may not be able to gather physically to experience it, the Bay Area’s creative spirit and artistic drive has persisted throughout the pandemic. On Jan. 28, KQED and its partners present a unique opportunity to congregate virtually and keep that spirit alive during the third San Francisco edition of the Night of Ideas. An initiative of the Institut Français, more than 200 Night of Ideas will occur on one evening in over 35 cities across the world, from Finland to Sydney to South Africa. \u003c/p>\n\u003cp>While typically held in person at the San Francisco Public Library as a seven-hour marathon of speakers and performances, this year’s event has been adapted into a free two-hour virtual event featuring some of the Bay Area’s most prominent leaders, thinkers, and artists. Meditating on the theme of “closing the distance,” San Francisco’s performers and speakers will explore how we can create a better future with more inclusive and equitable civic spaces. \u003c/p>\n\u003cp>The program includes a special conversation between KQED’s own Mina Kim and San Francisco Mayor London Breed, an intergenerational collaboration between the Destiny Arts Youth Performance Company and the Elders Project, performances from young poets with Youth Speaks and Chapter 510, and much more. Taking full advantage of the virtual format, speakers from beyond the Bay Area will participate as well, including farmer, artist, and writer Nikiko Masumoto, who will join from her family farm in the Central Valley. \u003c/p>\n\u003cp>To be broadcast globally from France as part of a 24-hour program by the Institut Français, San Francisco’s Night of Ideas also includes tributes to our essential workers and artists, and features some of the Bay Area’s iconic scenery. “This Night of Ideas will remind us of everything that we love about our city,” said Mayor Breed. “And hopefully provide some fun and joy during an otherwise challenging time.”\u003c/p>\n\u003cp>\u003cem>The third annual Night of Ideas takes place on Jan. 28, from 7-9pm PST. \u003ca href=\"https://www.nightofideassf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"In a virtual setting, the two-hour program explores the theme 'closing the distance.'","status":"publish","parent":0,"modified":1705019619,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":352},"headData":{"title":"Third Annual 'Night of Ideas' Pulls Together Leaders, Thinkers, Artists | KQED","description":"In a virtual setting, the two-hour program explores the theme 'closing the distance.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Third Annual 'Night of Ideas' Pulls Together Leaders, Thinkers, Artists","datePublished":"2021-01-20T22:42:11.000Z","dateModified":"2024-01-12T00:33:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13891522/third-annual-night-of-ideas-pulls-together-leaders-thinkers-artists","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Although we may not be able to gather physically to experience it, the Bay Area’s creative spirit and artistic drive has persisted throughout the pandemic. On Jan. 28, KQED and its partners present a unique opportunity to congregate virtually and keep that spirit alive during the third San Francisco edition of the Night of Ideas. An initiative of the Institut Français, more than 200 Night of Ideas will occur on one evening in over 35 cities across the world, from Finland to Sydney to South Africa. \u003c/p>\n\u003cp>While typically held in person at the San Francisco Public Library as a seven-hour marathon of speakers and performances, this year’s event has been adapted into a free two-hour virtual event featuring some of the Bay Area’s most prominent leaders, thinkers, and artists. Meditating on the theme of “closing the distance,” San Francisco’s performers and speakers will explore how we can create a better future with more inclusive and equitable civic spaces. \u003c/p>\n\u003cp>The program includes a special conversation between KQED’s own Mina Kim and San Francisco Mayor London Breed, an intergenerational collaboration between the Destiny Arts Youth Performance Company and the Elders Project, performances from young poets with Youth Speaks and Chapter 510, and much more. Taking full advantage of the virtual format, speakers from beyond the Bay Area will participate as well, including farmer, artist, and writer Nikiko Masumoto, who will join from her family farm in the Central Valley. \u003c/p>\n\u003cp>To be broadcast globally from France as part of a 24-hour program by the Institut Français, San Francisco’s Night of Ideas also includes tributes to our essential workers and artists, and features some of the Bay Area’s iconic scenery. “This Night of Ideas will remind us of everything that we love about our city,” said Mayor Breed. “And hopefully provide some fun and joy during an otherwise challenging time.”\u003c/p>\n\u003cp>\u003cem>The third annual Night of Ideas takes place on Jan. 28, from 7-9pm PST. \u003ca href=\"https://www.nightofideassf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13891522/third-annual-night-of-ideas-pulls-together-leaders-thinkers-artists","authors":["11734"],"programs":["arts_140"],"categories":["arts_1","arts_966","arts_69","arts_967"],"tags":["arts_4953","arts_3573"],"featImg":"arts_13891529","label":"arts_140"},"arts_13884693":{"type":"posts","id":"arts_13884693","meta":{"index":"posts_1591205157","site":"arts","id":"13884693","score":null,"sort":[1597178799000]},"guestAuthors":[],"slug":"sf-public-library-opens-for-front-door-service-announces-one-city-one-book-pick-for-2021","title":"SF Public Library Opens for Front-Door Service, Announces 'One City One Book' Pick for 2021","publishDate":1597178799,"format":"standard","headTitle":"SF Public Library Opens for Front-Door Service, Announces ‘One City One Book’ Pick for 2021 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>If you miss thumbing through the pages of a hardcover and taking in that old library book smell, there’s good news: the San Francisco Public Library is now open for \u003ca href=\"https://sfpl.org/sfpl-to-go\" target=\"_blank\" rel=\"noopener noreferrer\">front-door service\u003c/a> at its main and Excelsior branches, where it offers contactless, curbside pickup for materials requested ahead of time.\u003c/p>\n\u003cp>The news comes just as the library announces its pick for the 2021 One City One Book program: Chanel Miller’s memoir \u003ca href=\"https://www.npr.org/2019/09/23/762028606/chanel-miller-says-know-my-name-as-she-reflects-on-her-assault-by-brock-turner\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Know My Name\u003c/em>\u003c/a>. Miller’s harrowing account of her sexual assault at the hands of Stanford swimmer Brock Turner first made headlines from her \u003ca href=\"https://www.buzzfeednews.com/article/katiejmbaker/heres-the-powerful-letter-the-stanford-victim-read-to-her-ra\" target=\"_blank\" rel=\"noopener noreferrer\">court statement\u003c/a> as “Emily Doe” in 2016, and in 2019 she reclaimed her story and publicly revealed her identity. \u003cem>Know My Name \u003c/em>took off with rave reviews, praised for its emotional vulnerability and sobering indictment of the criminal justice system.\u003c/p>\n\u003cp>In March and April 2021, the San Francisco Public Library plans to roll out a variety of programming around \u003cem>Know My Name\u003c/em>, including book clubs, author talks, panels and more. Miller, a visual artist, is also designing a new library card for SFPL, and—pending a full reopening—the library will host an exhibition of her drawings. That exhibition will be an extension of Miller’s installation about healing at the Asian Art Museum, \u003ca href=\"https://exhibitions.asianart.org/exhibitions/chanel-miller-i-was-i-am-i-will-be/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>I was, I am, I will be\u003c/i>\u003c/a>\u003cem>, \u003c/em>which is currently on view and visible from outside of the museum on Hyde Street.\u003c/p>\n\u003cp>https://youtu.be/MLn7CQqyUY8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The library invites all of San Francisco to read Chanel Miller’s ‘Know My Name’ in 2021. ","status":"publish","parent":0,"modified":1705020298,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":248},"headData":{"title":"SF Public Library Opens for Front-Door Service, Announces 'One City One Book' Pick for 2021 | KQED","description":"The library invites all of San Francisco to read Chanel Miller’s ‘Know My Name’ in 2021. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF Public Library Opens for Front-Door Service, Announces 'One City One Book' Pick for 2021","datePublished":"2020-08-11T20:46:39.000Z","dateModified":"2024-01-12T00:44:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13884693/sf-public-library-opens-for-front-door-service-announces-one-city-one-book-pick-for-2021","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you miss thumbing through the pages of a hardcover and taking in that old library book smell, there’s good news: the San Francisco Public Library is now open for \u003ca href=\"https://sfpl.org/sfpl-to-go\" target=\"_blank\" rel=\"noopener noreferrer\">front-door service\u003c/a> at its main and Excelsior branches, where it offers contactless, curbside pickup for materials requested ahead of time.\u003c/p>\n\u003cp>The news comes just as the library announces its pick for the 2021 One City One Book program: Chanel Miller’s memoir \u003ca href=\"https://www.npr.org/2019/09/23/762028606/chanel-miller-says-know-my-name-as-she-reflects-on-her-assault-by-brock-turner\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Know My Name\u003c/em>\u003c/a>. Miller’s harrowing account of her sexual assault at the hands of Stanford swimmer Brock Turner first made headlines from her \u003ca href=\"https://www.buzzfeednews.com/article/katiejmbaker/heres-the-powerful-letter-the-stanford-victim-read-to-her-ra\" target=\"_blank\" rel=\"noopener noreferrer\">court statement\u003c/a> as “Emily Doe” in 2016, and in 2019 she reclaimed her story and publicly revealed her identity. \u003cem>Know My Name \u003c/em>took off with rave reviews, praised for its emotional vulnerability and sobering indictment of the criminal justice system.\u003c/p>\n\u003cp>In March and April 2021, the San Francisco Public Library plans to roll out a variety of programming around \u003cem>Know My Name\u003c/em>, including book clubs, author talks, panels and more. Miller, a visual artist, is also designing a new library card for SFPL, and—pending a full reopening—the library will host an exhibition of her drawings. That exhibition will be an extension of Miller’s installation about healing at the Asian Art Museum, \u003ca href=\"https://exhibitions.asianart.org/exhibitions/chanel-miller-i-was-i-am-i-will-be/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>I was, I am, I will be\u003c/i>\u003c/a>\u003cem>, \u003c/em>which is currently on view and visible from outside of the museum on Hyde Street.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MLn7CQqyUY8'\n title='//www.youtube.com/embed/MLn7CQqyUY8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13884693/sf-public-library-opens-for-front-door-service-announces-one-city-one-book-pick-for-2021","authors":["11387"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_10278","arts_9054","arts_3573","arts_585"],"featImg":"arts_13884695","label":"arts_140"},"arts_13883032":{"type":"posts","id":"arts_13883032","meta":{"index":"posts_1591205157","site":"arts","id":"13883032","score":null,"sort":[1594236785000]},"guestAuthors":[],"slug":"27-years-later-nine-artists-consider-kiki-gallery-within-its-same-walls","title":"27 Years Later, Nine Artists Consider Kiki Gallery—Within its Same Walls","publishDate":1594236785,"format":"standard","headTitle":"27 Years Later, Nine Artists Consider Kiki Gallery—Within its Same Walls | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When Sophie Appel and Cole Solinger opened San Francisco’s \u003ca href=\"https://www.instagram.com/delaplanesf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Delaplane\u003c/a> gallery at 483 14th Street, they were unaware the narrow storefront was already a landmark of local art history. Theirs was a new enterprise, exhibiting young and emerging artists, many of them alums of the San Francisco Art Institute. But in the weeks and months that followed their October 2019 inaugural show, Appel and Solinger heard more and more stories from those who’d frequented the same spot in the early ’90s. They learned that Delaplane shared the address, a quarter-century removed, with a space called Kiki Gallery.\u003c/p>\n\u003cp>Despite a short existence, or perhaps because of it, Kiki is the stuff of legend. Founded in 1993 by artist and activist Rick Jacobsen, the gallery was only open for 18 months. During that time, Kiki hosted over 150 artists and performers, among them future international names and beloved Bay Area artists: Lutz Bacher, Nao Bustamante, Jerome Caja, Frances Stark, Chris Johanson, Nayland Blake, Catherine Opie, Rex Ray and \u003ca href=\"https://www.kqed.org/arts/13859939/remembering-kevin-killian-poet-playwright-and-artist-who-gave-us-courage\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Killian\u003c/a>. Arts writer Glen Helfand \u003ca href=\"https://static1.squarespace.com/static/573520facf80a15b05a67492/t/573c1a2ac6fc087da45a5ed2/1463556651523/Helfand+Art+AIDS+America+1st+text.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">remembers the space\u003c/a> as “somewhere between commercial gallery and clubhouse,” a reflection of “Jacobson’s wit, showmanship, and endearing cynicism.”\u003c/p>\n\u003cfigure id=\"attachment_13883067\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg\" alt=\"\" width=\"640\" height=\"927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640-160x232.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Delaplane, Colter Jacobson’s flag residency (left) and Lukaza Branfman-Verissimo, ‘Untitled.’ \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gallery came from Jacobsen’s desire to gather an arts community on his own, rather on behalf of an organization. Faced with his own AIDS diagnosis, he quit his job at a nonprofit and put all his money into the project. “If I couldn’t do anything firsthand about AIDS, I could be at least a motivating force in art—perhaps the next best thing,” he said in a \u003ca href=\"https://www.stretcher.org/features/kiki_exhibitions_bits/\" target=\"_blank\" rel=\"noopener noreferrer\">1994 interview\u003c/a>.\u003c/p>\n\u003cp>The city at the time was devastated by both the epidemic and an economic downturn, but Jacobsen created something vibrant, irreverent and (paradoxically) lasting. The titles of his shows speak volumes: the scatological \u003ci>Caca @ Kiki\u003c/i>; the gallows humor of \u003ci>Sick Joke: Bitterness, Sarcasm, and Irony in the Second AIDS Decade\u003c/i>; and the self-referential artiness of \u003ci>Piece: Nine Artists Consider Yoko Ono\u003c/i>, the gallery’s final exhibition in February 1995. Jacobsen died of AIDS-related lymphoma in 1997.\u003c/p>\n\u003cp>Decades later, in a very different San Francisco, the punny, carefully assembled \u003ci>Peace: Nine Artists Consider Kiki Gallery\u003c/i> honors the site-specific history of 483 14th Street, gathering artists with a direct relationship to Kiki alongside a younger generation now considering its legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show begins outside, where Lukaza Branfman-Verissimo’s window installation speaks directly to Kiki: “27 years / both born in 1993 / celebrating you / who / knew we would / be here in this / way / making a sa / fe space / for the bay / qu / eers.” With this overarching sentiment, \u003ci>Peace\u003c/i> becomes a passing of torches—not just from one group of artists to another, but back and forth, between members of a multigenerational community.\u003c/p>\n\u003cp>For those without firsthand experience of Kiki’s heyday, a booklet put together by Wayne Smith includes ephemera and pictures of individual artworks, installations and performances. (Smith encourages viewers to visit the James C. Hormel LGBTQIA Center at the San Francisco Public Library for more of the gallery’s \u003ca href=\"https://sfpl.bibliocommons.com/item/show/2108471093\" target=\"_blank\" rel=\"noopener noreferrer\">ephemera\u003c/a>.) Additional archival material comes in Delaplane’s back room, where a vitrine displays the spread-out contents of \u003ci>Kikibox\u003c/i>, a 1994 kit of editioned objects by gallery-affiliated artists.\u003c/p>\n\u003cfigure id=\"attachment_13883063\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Kikibox.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Kikibox,’ 1994. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is not the first time an exhibition has been organized in memory of Kiki Gallery—Ratio 3 hosted \u003ci>\u003ca href=\"https://www.ratio3.org/exhibitions/kiki-the-proof-is-in-the-pudding/installation\" target=\"_blank\" rel=\"noopener noreferrer\">The Proof is in the Pudding\u003c/a>\u003c/i>, curated by Colter Jacobsen and Kevin Killian, in 2008. But it is the first time the honoring has happened on-site, and the shape of the space lends \u003ci>Peace\u003c/i> a special resonance.\u003c/p>\n\u003cp>The younger artists in the show respond as much to Kiki as they do the similar conditions of both galleries’ temporal surroundings: a pandemic, widespread unemployment, experiences of injustice, isolation and despair. In Kennedy Morgan’s very vertical panting (an homage to a Jim Winters screen print) \u003ci>After the Parakeet Attack\u003c/i>, a scratched and bleeding green hand draws back a curtain to reveal what looks to be a solid, impassable surface.\u003c/p>\n\u003cp>rel robinson (who has written for KQED Arts) contributes a textile piece dotted with some of the most indelible images of the last four months: the \u003ca href=\"https://www.nytimes.com/2020/03/14/technology/coronavirus-purell-wipes-amazon-sellers.html\" target=\"_blank\" rel=\"noopener noreferrer\">sanitizer stockpile\u003c/a>; the \u003ca href=\"https://www.dispatch.com/news/20200413/gop-lawmakers-protesters-call-on-dewine-to-begin-re-opening-ohio\" target=\"_blank\" rel=\"noopener noreferrer\">Ohio zombies\u003c/a>; \u003ca href=\"https://www.instagram.com/p/B9w3JvYjQ5S/\" target=\"_blank\" rel=\"noopener noreferrer\">penguins\u003c/a> freed from their aquarium bounds. The application of digital images onto tangible, domestic materials conjures a vision of a feed scrolled while propped up in bed—a new world experienced through one’s screen.\u003c/p>\n\u003cfigure id=\"attachment_13883062\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_install_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Peace’: Kennedy Morgan, ‘After the Parakeet Attack (left); Ocean Escalante, ‘Hole in the Wall,’ 2020 (right); D-L Alvarez, ‘Scar,’ 2020 (above). \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite plenty of reasons for despair, some of the artists in \u003ci>Peace\u003c/i> do find—well, \u003ci>peace\u003c/i>. In Ocean Escalanti’s small acrylic painting \u003ci>Hole in the Wall\u003c/i>, lush greenery and peeping eyes surround a vignette of two heads close together, a perfect depiction of the safe space described by Branfman-Verissimo’s installation. And back outside, Delaplane’s “flag residency” hoists a charming banner by Colter Jacobsen that resembles a giant, almost empty roll of polka-dotted toilet paper. (\u003ci>Caca @ Kiki\u003c/i>, indeed.)\u003c/p>\n\u003cp>Representing the original members of the Kiki scene, D-L Alvarez, Cliff Hengst, Scott Hewicker and Jennifer Locke present works that reference both then and now. Alvarez’s delicate graphite-on-paper works, collectively titled \u003ci>Peanut\u003c/i>, carry weight without explaining themselves, personal scraps of memory and influence that sit comfortably above Smith’s booklet, itself a Kiki scrapbook.\u003c/p>\n\u003cp>Next on the wall, Hengst’s untitled painting, reading “IT IS HER,” references a voicemail Yoko Ono herself left at the gallery, on the occasion of Kiki’s final show. The slight pink tinge at the upper right corner of the canvas is a nice echo of Alvarez’s other contribution to \u003ci>Peace\u003c/i>, a dotted line of plaster and pigment that traces the shape of Kiki’s former loft at the back of the main gallery.\u003c/p>\n\u003cfigure id=\"attachment_13883166\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Locke_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13883166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Jennifer Locke, ‘Séance for R.J. (Candle, Rubber, Levitation, Blood),’ 2020. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a narrow hallway between the front and back spaces, a video by Locke fits snugly into an odd little corner, playing a short loop of repeated rituals—a seance for Jacobsen, but also an evocation of life under shelter in place. (\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Locke_1200.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">A scene\u003c/a> of a condom rolled over a dildo is nicely matched by Hewicker’s sex toy still life.)\u003c/p>\n\u003cp>The exhibition’s parting elements come from Sahar Khoury, in a stacked floor sculpture of boxes and a mixed media textile piece made out of an SFMOMA tote bag. “I like everything about you but you,” the modified canvas bag reads, a fitting comment on the museum’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" target=\"_blank\" rel=\"noopener noreferrer\">recent inability\u003c/a> to take a stance on racial justice.\u003c/p>\n\u003cp>There’s nothing monumental in \u003ci>Peace\u003c/i>. Most of the work is small-scale, provisional, made with materials that don’t fit many definitions of “high art.” And yet in these artworks, the principles for which Kiki stood, the ideas that compelled Jacobsen to open its doors in the first place, persist. \u003ci>Peace\u003c/i> underscores the importance of making art in difficult times—as a way of documenting, but also transcending. 483 14th Street is once again a space for the exchange of artistic ideas; in this case, a conversation that spans at least one participant’s entire lifetime. And until we can gather for events that might live up to Kiki’s legendary status, those exchanges will happen one viewer at a time, in half-hour increments.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Peace: Nine Artists Consider Kiki Gallery’ is on view though July 25 at Delaplane (483 14th Street, San Francisco). Open by appointment, \u003ca href=\"https://calendly.com/delaplane\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"A group show at Delaplane honors a legendary gallery once located in the same storefront. ","status":"publish","parent":0,"modified":1705020461,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1354},"headData":{"title":"27 Years Later, Nine Artists Consider Kiki Gallery—Within its Same Walls | KQED","description":"A group show at Delaplane honors a legendary gallery once located in the same storefront. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"27 Years Later, Nine Artists Consider Kiki Gallery—Within its Same Walls","datePublished":"2020-07-08T19:33:05.000Z","dateModified":"2024-01-12T00:47:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13883032/27-years-later-nine-artists-consider-kiki-gallery-within-its-same-walls","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Sophie Appel and Cole Solinger opened San Francisco’s \u003ca href=\"https://www.instagram.com/delaplanesf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Delaplane\u003c/a> gallery at 483 14th Street, they were unaware the narrow storefront was already a landmark of local art history. Theirs was a new enterprise, exhibiting young and emerging artists, many of them alums of the San Francisco Art Institute. But in the weeks and months that followed their October 2019 inaugural show, Appel and Solinger heard more and more stories from those who’d frequented the same spot in the early ’90s. They learned that Delaplane shared the address, a quarter-century removed, with a space called Kiki Gallery.\u003c/p>\n\u003cp>Despite a short existence, or perhaps because of it, Kiki is the stuff of legend. Founded in 1993 by artist and activist Rick Jacobsen, the gallery was only open for 18 months. During that time, Kiki hosted over 150 artists and performers, among them future international names and beloved Bay Area artists: Lutz Bacher, Nao Bustamante, Jerome Caja, Frances Stark, Chris Johanson, Nayland Blake, Catherine Opie, Rex Ray and \u003ca href=\"https://www.kqed.org/arts/13859939/remembering-kevin-killian-poet-playwright-and-artist-who-gave-us-courage\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Killian\u003c/a>. Arts writer Glen Helfand \u003ca href=\"https://static1.squarespace.com/static/573520facf80a15b05a67492/t/573c1a2ac6fc087da45a5ed2/1463556651523/Helfand+Art+AIDS+America+1st+text.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">remembers the space\u003c/a> as “somewhere between commercial gallery and clubhouse,” a reflection of “Jacobson’s wit, showmanship, and endearing cynicism.”\u003c/p>\n\u003cfigure id=\"attachment_13883067\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg\" alt=\"\" width=\"640\" height=\"927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640-160x232.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Delaplane, Colter Jacobson’s flag residency (left) and Lukaza Branfman-Verissimo, ‘Untitled.’ \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gallery came from Jacobsen’s desire to gather an arts community on his own, rather on behalf of an organization. Faced with his own AIDS diagnosis, he quit his job at a nonprofit and put all his money into the project. “If I couldn’t do anything firsthand about AIDS, I could be at least a motivating force in art—perhaps the next best thing,” he said in a \u003ca href=\"https://www.stretcher.org/features/kiki_exhibitions_bits/\" target=\"_blank\" rel=\"noopener noreferrer\">1994 interview\u003c/a>.\u003c/p>\n\u003cp>The city at the time was devastated by both the epidemic and an economic downturn, but Jacobsen created something vibrant, irreverent and (paradoxically) lasting. The titles of his shows speak volumes: the scatological \u003ci>Caca @ Kiki\u003c/i>; the gallows humor of \u003ci>Sick Joke: Bitterness, Sarcasm, and Irony in the Second AIDS Decade\u003c/i>; and the self-referential artiness of \u003ci>Piece: Nine Artists Consider Yoko Ono\u003c/i>, the gallery’s final exhibition in February 1995. Jacobsen died of AIDS-related lymphoma in 1997.\u003c/p>\n\u003cp>Decades later, in a very different San Francisco, the punny, carefully assembled \u003ci>Peace: Nine Artists Consider Kiki Gallery\u003c/i> honors the site-specific history of 483 14th Street, gathering artists with a direct relationship to Kiki alongside a younger generation now considering its legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show begins outside, where Lukaza Branfman-Verissimo’s window installation speaks directly to Kiki: “27 years / both born in 1993 / celebrating you / who / knew we would / be here in this / way / making a sa / fe space / for the bay / qu / eers.” With this overarching sentiment, \u003ci>Peace\u003c/i> becomes a passing of torches—not just from one group of artists to another, but back and forth, between members of a multigenerational community.\u003c/p>\n\u003cp>For those without firsthand experience of Kiki’s heyday, a booklet put together by Wayne Smith includes ephemera and pictures of individual artworks, installations and performances. (Smith encourages viewers to visit the James C. Hormel LGBTQIA Center at the San Francisco Public Library for more of the gallery’s \u003ca href=\"https://sfpl.bibliocommons.com/item/show/2108471093\" target=\"_blank\" rel=\"noopener noreferrer\">ephemera\u003c/a>.) Additional archival material comes in Delaplane’s back room, where a vitrine displays the spread-out contents of \u003ci>Kikibox\u003c/i>, a 1994 kit of editioned objects by gallery-affiliated artists.\u003c/p>\n\u003cfigure id=\"attachment_13883063\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Kikibox.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Kikibox,’ 1994. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is not the first time an exhibition has been organized in memory of Kiki Gallery—Ratio 3 hosted \u003ci>\u003ca href=\"https://www.ratio3.org/exhibitions/kiki-the-proof-is-in-the-pudding/installation\" target=\"_blank\" rel=\"noopener noreferrer\">The Proof is in the Pudding\u003c/a>\u003c/i>, curated by Colter Jacobsen and Kevin Killian, in 2008. But it is the first time the honoring has happened on-site, and the shape of the space lends \u003ci>Peace\u003c/i> a special resonance.\u003c/p>\n\u003cp>The younger artists in the show respond as much to Kiki as they do the similar conditions of both galleries’ temporal surroundings: a pandemic, widespread unemployment, experiences of injustice, isolation and despair. In Kennedy Morgan’s very vertical panting (an homage to a Jim Winters screen print) \u003ci>After the Parakeet Attack\u003c/i>, a scratched and bleeding green hand draws back a curtain to reveal what looks to be a solid, impassable surface.\u003c/p>\n\u003cp>rel robinson (who has written for KQED Arts) contributes a textile piece dotted with some of the most indelible images of the last four months: the \u003ca href=\"https://www.nytimes.com/2020/03/14/technology/coronavirus-purell-wipes-amazon-sellers.html\" target=\"_blank\" rel=\"noopener noreferrer\">sanitizer stockpile\u003c/a>; the \u003ca href=\"https://www.dispatch.com/news/20200413/gop-lawmakers-protesters-call-on-dewine-to-begin-re-opening-ohio\" target=\"_blank\" rel=\"noopener noreferrer\">Ohio zombies\u003c/a>; \u003ca href=\"https://www.instagram.com/p/B9w3JvYjQ5S/\" target=\"_blank\" rel=\"noopener noreferrer\">penguins\u003c/a> freed from their aquarium bounds. The application of digital images onto tangible, domestic materials conjures a vision of a feed scrolled while propped up in bed—a new world experienced through one’s screen.\u003c/p>\n\u003cfigure id=\"attachment_13883062\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_install_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Peace’: Kennedy Morgan, ‘After the Parakeet Attack (left); Ocean Escalante, ‘Hole in the Wall,’ 2020 (right); D-L Alvarez, ‘Scar,’ 2020 (above). \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite plenty of reasons for despair, some of the artists in \u003ci>Peace\u003c/i> do find—well, \u003ci>peace\u003c/i>. In Ocean Escalanti’s small acrylic painting \u003ci>Hole in the Wall\u003c/i>, lush greenery and peeping eyes surround a vignette of two heads close together, a perfect depiction of the safe space described by Branfman-Verissimo’s installation. And back outside, Delaplane’s “flag residency” hoists a charming banner by Colter Jacobsen that resembles a giant, almost empty roll of polka-dotted toilet paper. (\u003ci>Caca @ Kiki\u003c/i>, indeed.)\u003c/p>\n\u003cp>Representing the original members of the Kiki scene, D-L Alvarez, Cliff Hengst, Scott Hewicker and Jennifer Locke present works that reference both then and now. Alvarez’s delicate graphite-on-paper works, collectively titled \u003ci>Peanut\u003c/i>, carry weight without explaining themselves, personal scraps of memory and influence that sit comfortably above Smith’s booklet, itself a Kiki scrapbook.\u003c/p>\n\u003cp>Next on the wall, Hengst’s untitled painting, reading “IT IS HER,” references a voicemail Yoko Ono herself left at the gallery, on the occasion of Kiki’s final show. The slight pink tinge at the upper right corner of the canvas is a nice echo of Alvarez’s other contribution to \u003ci>Peace\u003c/i>, a dotted line of plaster and pigment that traces the shape of Kiki’s former loft at the back of the main gallery.\u003c/p>\n\u003cfigure id=\"attachment_13883166\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Locke_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13883166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Jennifer Locke, ‘Séance for R.J. (Candle, Rubber, Levitation, Blood),’ 2020. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a narrow hallway between the front and back spaces, a video by Locke fits snugly into an odd little corner, playing a short loop of repeated rituals—a seance for Jacobsen, but also an evocation of life under shelter in place. (\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Locke_1200.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">A scene\u003c/a> of a condom rolled over a dildo is nicely matched by Hewicker’s sex toy still life.)\u003c/p>\n\u003cp>The exhibition’s parting elements come from Sahar Khoury, in a stacked floor sculpture of boxes and a mixed media textile piece made out of an SFMOMA tote bag. “I like everything about you but you,” the modified canvas bag reads, a fitting comment on the museum’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" target=\"_blank\" rel=\"noopener noreferrer\">recent inability\u003c/a> to take a stance on racial justice.\u003c/p>\n\u003cp>There’s nothing monumental in \u003ci>Peace\u003c/i>. Most of the work is small-scale, provisional, made with materials that don’t fit many definitions of “high art.” And yet in these artworks, the principles for which Kiki stood, the ideas that compelled Jacobsen to open its doors in the first place, persist. \u003ci>Peace\u003c/i> underscores the importance of making art in difficult times—as a way of documenting, but also transcending. 483 14th Street is once again a space for the exchange of artistic ideas; in this case, a conversation that spans at least one participant’s entire lifetime. And until we can gather for events that might live up to Kiki’s legendary status, those exchanges will happen one viewer at a time, in half-hour increments.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Peace: Nine Artists Consider Kiki Gallery’ is on view though July 25 at Delaplane (483 14th Street, San Francisco). Open by appointment, \u003ca href=\"https://calendly.com/delaplane\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13883032/27-years-later-nine-artists-consider-kiki-gallery-within-its-same-walls","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_11615","arts_70"],"tags":["arts_2449","arts_10278","arts_1496","arts_1146","arts_3573","arts_585"],"featImg":"arts_13883061","label":"arts_140"},"arts_13880928":{"type":"posts","id":"arts_13880928","meta":{"index":"posts_1591205157","site":"arts","id":"13880928","score":null,"sort":[1590173868000]},"guestAuthors":[],"slug":"the-state-of-california-wants-your-coronavirus-stories","title":"The State of California Wants Your Coronavirus Stories","publishDate":1590173868,"format":"standard","headTitle":"The State of California Wants Your Coronavirus Stories | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>While most California officials focus on current-day solutions for the COVID-19 pandemic, at least one state office is already considering its place in future history books.\u003c/p>\n\u003cp>The California State Archives, a division of the Secretary of State, on Thursday launched the \u003ca href=\"https://www.sos.ca.gov/archives/california-covid-19-archive/\" rel=\"noopener noreferrer\" target=\"_blank\">California COVID-19 Archive\u003c/a>. All California residents are welcome to submit their stories reflecting the challenges and uncertainty of the current pandemic, and the ways they have adapted. Submissions are accepted at an online portal \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSefeBSLV-qI8atr9aJtqH6g6h-L6UA4ODCVynOqBq_Pi4bTJw/viewform?usp=sf_link\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>“Your submission will serve as an important contribution to this community memory project and will be a critical primary source so that future generations can better understand how the COVID-19 pandemic impacted Californians,” reads the site. Submissions will become a part of the official state historical collection. \u003c/p>\n\u003cp>The state project mirrors local efforts to document San Francisco’s response to the pandemic, led by the San Francisco Public Library. The \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center/digital-collections/covid19-time-capsule\" rel=\"noopener noreferrer\" target=\"_blank\">COVID-19 Community Time Capsule\u003c/a> project solicits stories as well as a broad range of ephemera, including “photographs; blog posts or social media posts (screenshots okay); video or audio; notices, signs or posters, including government notices or signs from private businesses; letters, emails, postcards; community newspapers; personal journal and diary entries; and creative work, such as drawings, paintings, graffiti, poetry, recipes and games.”\u003c/p>\n\u003cp>Submissions will become a permanent part of the City and County Archives of San Francisco, and can be made \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center/digital-collections/covid19-time-capsule\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>— Gabe Meline\u003c/em> (\u003ca href=\"https://twitter.com/gmeline\" rel=\"noopener noreferrer\" target=\"_blank\">@gmeline\u003c/a>)\u003c/p>\n\n","blocks":[],"excerpt":"Residents are asked to submit their stories and ephemera reflecting the uncertainty of the pandemic.","status":"publish","parent":0,"modified":1705020681,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":244},"headData":{"title":"The State of California Wants Your Coronavirus Stories | KQED","description":"Residents are asked to submit their stories and ephemera reflecting the uncertainty of the pandemic.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The State of California Wants Your Coronavirus Stories","datePublished":"2020-05-22T18:57:48.000Z","dateModified":"2024-01-12T00:51:21.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","justInHeadline":"Wanted: Your coronavirus stories for California and San Francisco archives","path":"/arts/13880928/the-state-of-california-wants-your-coronavirus-stories","redirect":{"type":"internal","url":"/coronavirusliveupdates/arts/13880928/the-state-of-california-wants-your-coronavirus-stories"},"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>While most California officials focus on current-day solutions for the COVID-19 pandemic, at least one state office is already considering its place in future history books.\u003c/p>\n\u003cp>The California State Archives, a division of the Secretary of State, on Thursday launched the \u003ca href=\"https://www.sos.ca.gov/archives/california-covid-19-archive/\" rel=\"noopener noreferrer\" target=\"_blank\">California COVID-19 Archive\u003c/a>. All California residents are welcome to submit their stories reflecting the challenges and uncertainty of the current pandemic, and the ways they have adapted. Submissions are accepted at an online portal \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSefeBSLV-qI8atr9aJtqH6g6h-L6UA4ODCVynOqBq_Pi4bTJw/viewform?usp=sf_link\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>“Your submission will serve as an important contribution to this community memory project and will be a critical primary source so that future generations can better understand how the COVID-19 pandemic impacted Californians,” reads the site. Submissions will become a part of the official state historical collection. \u003c/p>\n\u003cp>The state project mirrors local efforts to document San Francisco’s response to the pandemic, led by the San Francisco Public Library. The \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center/digital-collections/covid19-time-capsule\" rel=\"noopener noreferrer\" target=\"_blank\">COVID-19 Community Time Capsule\u003c/a> project solicits stories as well as a broad range of ephemera, including “photographs; blog posts or social media posts (screenshots okay); video or audio; notices, signs or posters, including government notices or signs from private businesses; letters, emails, postcards; community newspapers; personal journal and diary entries; and creative work, such as drawings, paintings, graffiti, poetry, recipes and games.”\u003c/p>\n\u003cp>Submissions will become a permanent part of the City and County Archives of San Francisco, and can be made \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center/digital-collections/covid19-time-capsule\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>— Gabe Meline\u003c/em> (\u003ca href=\"https://twitter.com/gmeline\" rel=\"noopener noreferrer\" target=\"_blank\">@gmeline\u003c/a>)\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/coronavirusliveupdates/arts/13880928/the-state-of-california-wants-your-coronavirus-stories","authors":["185"],"categories":["arts_1","arts_835","arts_7862","arts_10797"],"tags":["arts_10126","arts_2640","arts_10651","arts_3573"],"featImg":"arts_13879216","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","info":"For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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