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"title": "Meet the Designer Who Shaped San Francisco’s Eye-Popping History of Radical Theater",
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"content": "\n\u003cp class=\"wp-block-paragraph\">Debra “Beaver” Bauer had never really considered exhibiting her work as a costume designer. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“I’ve just always been so busy,” she says. “I just have always gone from one thing to the next, like we freelancers do.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">For Bauer, there was also the issue of humility, and a tendency to subsume her own ego into a collective craft, picked up from her time as a member of the Angels of Light. Bauer joined \u003ca href=\"https://www.kqed.org/arts/110836/stage_left_salutes_the_risky_daring_of_local_theater_artists\">the radical theater troupe\u003c/a> in San Francisco in 1970, and for the next 14 years put on gender-bending, spectacular productions in parks, community centers and the streets — anywhere the public could see them for free. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Those early years, full of resourceful costume-making and intense collaboration, prepared Bauer for a long and fruitful career backstage with Bay Area theater companies. In the decades since, she’s worked with \u003ca href=\"https://www.kqed.org/arts/tag/act\">A.C.T.\u003c/a>, San José’s American Musical Theater, Teatro ZinZanni and ice skater Brian Boitano, among many others.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f.jpg\" alt=\"\" class=\"wp-image-13995045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Beaver Bauer’s sketches line the walls of her San Francisco home. (Miles Cull/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp class=\"wp-block-paragraph\">“I’m better at fantasy than I am at reality, but I’ve done every kind of show,” Bauer, now 76, says. “I’ve done Sam Shepard, I’ve done a lot of Shakespeare, but I try to bring a little ‘Angel’ into all of it.” \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Evidence of all this creative work will soon be on display in \u003cem>\u003ca href=\"https://sfpl.org/exhibits/2026/11/05/street-stage-beaver-bauer\">From Street to Stage\u003c/a>\u003c/em>, a retrospective exhibition opening Nov. 5 in the San Francisco Public Library’s Jewett Gallery. Co-curated by Mark Johnson, Trisha Lagaso Goldberg and Theo B. Lau, the show includes full costumes, elaborate headdresses, Bauer’s design sketches, and photos and videos from various productions. \u003c/p>\n\n\n\n\n\n\u003cp class=\"wp-block-paragraph\">The exhibition is also one of the first to open as part of the \u003ca href=\"https://www.kqed.org/arts/13965626/further-triennial-northern-california-visual-art-2027\">Further Triennial\u003c/a>, a slate of over 100 exhibitions and events that tell a broader, deeper story of Northern California’s artistic past and present. The triennial officially launches in March 2027.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">For fans of Bauer’s work, and for Johnson as a curator, it’s important to see the craft of costume design honored as an art form — specifically a regional one. “This is a tribute to this experimental theater that crosses the line between visual art and classical theater,” Johnson says. “It’s one of the great legacies of San Francisco’s cultural heritage.” \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Most crucial to Bauer is that the exhibition is free to visit. She wants anyone who wanders in to know they too can dress up, just as she did as a young person in 1970s San Francisco.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“When you put something on that maybe you usually wouldn’t wear,” she says, “chances are you might discover or free something in yourself that you didn’t know was hiding in there.”\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1808\" height=\"1552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817.jpg\" alt=\"two young people in robes dance barefoot in front of crowd\" class=\"wp-image-13995259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817.jpg 1808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817-1536x1319.jpg 1536w\" sizes=\"auto, (max-width: 1808px) 100vw, 1808px\" />\u003cfigcaption class=\"wp-element-caption\">Rodney Price and Beaver Bauer at San Francisco’s Civic Center in 1970 or ’71. (Courtesy of Beaver Bauer)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Living outside ‘the money system’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Born in Ohio, Bauer felt herself pulled west from an early age. When she met Rodney Price, another future Angel, at Woodstock (“God, it’s such a movie script sometimes,” she says), the two decided to head to San Francisco. Price took a plane; Bauer rode a hippie school bus and hitchhiked her way across the country.\u003c/p>\n\n\n\n\n\n\u003cp class=\"wp-block-paragraph\">Once in the city, she encountered Hibiscus, founder of \u003ca href=\"https://www.kqed.org/arts/13910612/the-cockettes-san-francisco-public-library-fayette-hauser-scrumbly\">the Cockettes\u003c/a> and its offshoot, the Angels of Light, in all his bearded, be-robed glory.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“He was like a sun,” Bauer says, “like, in terms of people he could pull into his orbit, because he was just so amazing looking.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Bauer describes spending hours getting ready to go to the thrift store, or simply to walk down the street. “Anywhere we could get people to look at us was satisfying to us,” she says. “It was like trying on personalities for a day.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">The Angels lived together in San Francisco as part of the Free Food Family — a network of communal houses that pooled resources to offer up food, newsletters, medical care and adamantly free theater. “We believed in this principle of trying to avoid as much as possible the money system of the United States of America,” Bauer says.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">The group performed together until 1984. “We lost like 75% of the men during AIDS,” Bauer says. Hibiscus died in 1982 at the age of 32; Rodney Price died in 1988.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50.jpg\" alt=\"\" class=\"wp-image-13995046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Beaver Bauer poses for a portrait with a doll named ‘Her’ that she made for a friend. (Miles Cull/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp class=\"wp-block-paragraph\">Just outside the Jewett Gallery, Bauer has designed a wall to memorialize the late members of the Angels of Light, their photographs framed by lockets hanging from a drawing of a willow tree. Bauer identifies with the willow’s flexibility.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“We are resilient people after making it through the AIDS crisis, making it through all we have, my friends and I, through our lives,” she says. “We have been able to live on next to nothing.”\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Invention and imagination\u003c/strong>\u003c/h2>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Making something out of nothing is a trademark of Bauer’s work. In an image from the 1978 Angels of Light production \u003cem>Sci-Clones\u003c/em>, Bauer and Jessica Copen wear diaphanous garments made of shower curtains, their sparkly headpieces covered in glitter-encrusted stemware. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">A 1985 \u003cem>San Francisco Chronicle\u003c/em> profile called Bauer “the hottest costume designer in the Bay Area,” reveling in the paradox of how someone so good at reflecting and parodying high-end fashion could be living on such a meager budget.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Johnson says the countercultural roots of Bauer’s work are never far away, even in her designs for more mainstream productions. “She has brought that same kind of extravagant generosity to her work for all these other companies,” he says. Part of that generosity is her time, and her ability to truly see the person in front of her and make a costume that works for them.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1424\" height=\"2000\" data-id=\"13995261\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5.jpg\" alt=\"two performers in see-through robes with headdresses made of stemware\" class=\"wp-image-13995261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5.jpg 1424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5-768x1079.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5-1094x1536.jpg 1094w\" sizes=\"auto, (max-width: 1424px) 100vw, 1424px\" />\u003cfigcaption class=\"wp-element-caption\">Beaver Bauer and Jessica Copen in the Angels of Light production ‘Sci-Clones,’ 1978. (Photo by Daniel Nicoletta)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1600\" height=\"2000\" data-id=\"13995260\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f.jpg\" alt=\"three performers in red sea creature costumes\" class=\"wp-image-13995260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\" />\u003cfigcaption class=\"wp-element-caption\">D. Payomo, C. Alwyn-Parker and J. Hernandez, The Red Tipped Worms from ‘MU,’ First Voice, 2012. (Photo by Mark Shinegaga)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Costume-fitting is one of Bauer’s favorite parts of the process. She loves watching an actor transform into their character. “You have this time with this person where you can kind of sink into their head a little bit,” she says of the fitting room. “Can we take this to the level that will be perfect for this particular person, like \u003cem>their\u003c/em> Masha in \u003cem>Three Sisters\u003c/em> and not somebody else’s? And that relationship has always been a particular delight to me.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Most of Bauer’s costumes are witty, maximalist concoctions. Several process boards in the exhibition demonstrate how she pulls from vastly disparate inspirations to create a single costume. For an iconic look from Brenda Wong Aoki and Mark Izu’s \u003cem>\u003ca href=\"https://cargocollective.com/aokizu/MU\">MU\u003c/a>\u003c/em>, for example, Bauer cited red-tipped sea worms, Motown group the Supremes and wedding kimonos. Always materially inventive, Bauer made a seahorse costume in that same production with the help of red boba straws.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">It’s difficult, Johnson and Bauer both admit, to present the physicality of theater in a static exhibition. But Bauer has encouraged her friends to come to the Nov. 5 opening dressed in their finest. “I deeply, deeply desire to have something kinetic,” she says. (To that end, a parade will mark the exhibition’s closing in April 2027.)\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“My hope with this show is to stimulate people’s imagination, to reinvest people in theater,” Bauer says, calling the \u003ca href=\"https://www.kqed.org/arts/13978734/how-to-save-bay-area-theater-from-collapse-and-closures\">trend of local theater closures\u003c/a> “alarming.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“But what’s better than seeing somebody up there moving?” she adds. “I just want to say ‘Hey, everybody, look at this valuable art form. And let’s go see a show.’”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp class=\"wp-block-paragraph\">‘\u003cem>\u003ca href=\"https://sfpl.org/exhibits/2026/11/05/street-stage-beaver-bauer\">Beaver Bauer: From Street to Stage\u003c/a>’ is on view at the Jewett Gallery in the San Francisco Public Library (100 Larkin St.) from Nov. 5, 2026–April 11, 2027.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>For Bauer, there was also the issue of humility, and a tendency to subsume her own ego into a collective craft, picked up from her time as a member of the Angels of Light. Bauer joined \u003ca href=\"https://www.kqed.org/arts/110836/stage_left_salutes_the_risky_daring_of_local_theater_artists\">the radical theater troupe\u003c/a> in San Francisco in 1970, and for the next 14 years put on gender-bending, spectacular productions in parks, community centers and the streets — anywhere the public could see them for free. \u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f.jpg\" alt=\"\" class=\"wp-image-13995045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f-1536x1025.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Beaver Bauer’s sketches line the walls of her San Francisco home.\u003ccite class=\"wp-inline-image-credit\"> (Miles Cull/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f.jpg\" alt=\"\" class=\"wp-image-13995045\"/>\u003cfigcaption class=\"wp-element-caption\">Beaver Bauer’s sketches line the walls of her San Francisco home.\u003ccite class=\"wp-inline-image-credit\"> (Miles Cull/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>“I’m better at fantasy than I am at reality, but I’ve done every kind of show,” Bauer, now 76, says. “I’ve done Sam Shepard, I’ve done a lot of Shakespeare, but I try to bring a little ‘Angel’ into all of it.” \u003c/p>\n",
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"innerHTML": "\n\u003cp>Evidence of all this creative work will soon be on display in \u003cem>\u003ca href=\"https://sfpl.org/exhibits/2026/11/05/street-stage-beaver-bauer\">From Street to Stage\u003c/a>\u003c/em>, a retrospective exhibition opening Nov. 5 in the San Francisco Public Library’s Jewett Gallery. Co-curated by Mark Johnson, Trisha Lagaso Goldberg and Theo B. Lau, the show includes full costumes, elaborate headdresses, Bauer’s design sketches, and photos and videos from various productions. \u003c/p>\n",
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"innerHTML": "\n\u003cp>The exhibition is also one of the first to open as part of the \u003ca href=\"https://www.kqed.org/arts/13965626/further-triennial-northern-california-visual-art-2027\">Further Triennial\u003c/a>, a slate of over 100 exhibitions and events that tell a broader, deeper story of Northern California’s artistic past and present. The triennial officially launches in March 2027.\u003c/p>\n",
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"innerHTML": "\n\u003cp>For fans of Bauer’s work, and for Johnson as a curator, it’s important to see the craft of costume design honored as an art form — specifically a regional one. “This is a tribute to this experimental theater that crosses the line between visual art and classical theater,” Johnson says. “It’s one of the great legacies of San Francisco’s cultural heritage.” \u003c/p>\n",
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"innerHTML": "\n\u003cp>Most crucial to Bauer is that the exhibition is free to visit. She wants anyone who wanders in to know they too can dress up, just as she did as a young person in 1970s San Francisco.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“When you put something on that maybe you usually wouldn’t wear,” she says, “chances are you might discover or free something in yourself that you didn’t know was hiding in there.”\u003c/p>\n",
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"\n\u003cp>“When you put something on that maybe you usually wouldn’t wear,” she says, “chances are you might discover or free something in yourself that you didn’t know was hiding in there.”\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817.jpg\" alt=\"two young people in robes dance barefoot in front of crowd\" class=\"wp-image-13995259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817.jpg 1808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817-1536x1319.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Rodney Price and Beaver Bauer at San Francisco’s Civic Center in 1970 or ’71.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of Beaver Bauer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>Born in Ohio, Bauer felt herself pulled west from an early age. When she met Rodney Price, another future Angel, at Woodstock (“God, it’s such a movie script sometimes,” she says), the two decided to head to San Francisco. Price took a plane; Bauer rode a hippie school bus and hitchhiked her way across the country.\u003c/p>\n",
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"\n\u003cp>Born in Ohio, Bauer felt herself pulled west from an early age. When she met Rodney Price, another future Angel, at Woodstock (“God, it’s such a movie script sometimes,” she says), the two decided to head to San Francisco. Price took a plane; Bauer rode a hippie school bus and hitchhiked her way across the country.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Once in the city, she encountered Hibiscus, founder of \u003ca href=\"https://www.kqed.org/arts/13910612/the-cockettes-san-francisco-public-library-fayette-hauser-scrumbly\">the Cockettes\u003c/a> and its offshoot, the Angels of Light, in all his bearded, be-robed glory.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“He was like a sun,” Bauer says, “like, in terms of people he could pull into his orbit, because he was just so amazing looking.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Bauer describes spending hours getting ready to go to the thrift store, or simply to walk down the street. “Anywhere we could get people to look at us was satisfying to us,” she says. “It was like trying on personalities for a day.”\u003c/p>\n",
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"\n\u003cp>Bauer describes spending hours getting ready to go to the thrift store, or simply to walk down the street. “Anywhere we could get people to look at us was satisfying to us,” she says. “It was like trying on personalities for a day.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>The Angels lived together in San Francisco as part of the Free Food Family — a network of communal houses that pooled resources to offer up food, newsletters, medical care and adamantly free theater. “We believed in this principle of trying to avoid as much as possible the money system of the United States of America,” Bauer says.\u003c/p>\n",
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"\n\u003cp>The Angels lived together in San Francisco as part of the Free Food Family — a network of communal houses that pooled resources to offer up food, newsletters, medical care and adamantly free theater. “We believed in this principle of trying to avoid as much as possible the money system of the United States of America,” Bauer says.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The group performed together until 1984. “We lost like 75% of the men during AIDS,” Bauer says. Hibiscus died in 1982 at the age of 32; Rodney Price died in 1988.\u003c/p>\n",
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"\n\u003cp>The group performed together until 1984. “We lost like 75% of the men during AIDS,” Bauer says. Hibiscus died in 1982 at the age of 32; Rodney Price died in 1988.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50.jpg\" alt=\"\" class=\"wp-image-13995046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50-1536x1025.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Beaver Bauer poses for a portrait with a doll named ‘Her’ that she made for a friend.\u003ccite class=\"wp-inline-image-credit\"> (Miles Cull/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>Just outside the Jewett Gallery, Bauer has designed a wall to memorialize the late members of the Angels of Light, their photographs framed by lockets hanging from a drawing of a willow tree. Bauer identifies with the willow’s flexibility.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“We are resilient people after making it through the AIDS crisis, making it through all we have, my friends and I, through our lives,” she says. “We have been able to live on next to nothing.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Making something out of nothing is a trademark of Bauer’s work. In an image from the 1978 Angels of Light production \u003cem>Sci-Clones\u003c/em>, Bauer and Jessica Copen wear diaphanous garments made of shower curtains, their sparkly headpieces covered in glitter-encrusted stemware. \u003c/p>\n",
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"innerHTML": "\n\u003cp>A 1985 \u003cem>San Francisco Chronicle\u003c/em> profile called Bauer “the hottest costume designer in the Bay Area,” reveling in the paradox of how someone so good at reflecting and parodying high-end fashion could be living on such a meager budget.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Johnson says the countercultural roots of Bauer’s work are never far away, even in her designs for more mainstream productions. “She has brought that same kind of extravagant generosity to her work for all these other companies,” he says. Part of that generosity is her time, and her ability to truly see the person in front of her and make a costume that works for them.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Costume-fitting is one of Bauer’s favorite parts of the process. She loves watching an actor transform into their character. “You have this time with this person where you can kind of sink into their head a little bit,” she says of the fitting room. “Can we take this to the level that will be perfect for this particular person, like \u003cem>their\u003c/em> Masha in \u003cem>Three Sisters\u003c/em> and not somebody else’s? And that relationship has always been a particular delight to me.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Most of Bauer’s costumes are witty, maximalist concoctions. Several process boards in the exhibition demonstrate how she pulls from vastly disparate inspirations to create a single costume. For an iconic look from Brenda Wong Aoki and Mark Izu’s \u003cem>\u003ca href=\"https://cargocollective.com/aokizu/MU\">MU\u003c/a>\u003c/em>, for example, Bauer cited red-tipped sea worms, Motown group the Supremes and wedding kimonos. Always materially inventive, Bauer made a seahorse costume in that same production with the help of red boba straws.\u003c/p>\n",
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"\n\u003cp>Most of Bauer’s costumes are witty, maximalist concoctions. Several process boards in the exhibition demonstrate how she pulls from vastly disparate inspirations to create a single costume. For an iconic look from Brenda Wong Aoki and Mark Izu’s \u003cem>\u003ca href=\"https://cargocollective.com/aokizu/MU\">MU\u003c/a>\u003c/em>, for example, Bauer cited red-tipped sea worms, Motown group the Supremes and wedding kimonos. Always materially inventive, Bauer made a seahorse costume in that same production with the help of red boba straws.\u003c/p>\n"
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"innerHTML": "\n\u003cp>It’s difficult, Johnson and Bauer both admit, to present the physicality of theater in a static exhibition. But Bauer has encouraged her friends to come to the Nov. 5 opening dressed in their finest. “I deeply, deeply desire to have something kinetic,” she says. (To that end, a parade will mark the exhibition’s closing in April 2027.)\u003c/p>\n",
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"\n\u003cp>It’s difficult, Johnson and Bauer both admit, to present the physicality of theater in a static exhibition. But Bauer has encouraged her friends to come to the Nov. 5 opening dressed in their finest. “I deeply, deeply desire to have something kinetic,” she says. (To that end, a parade will mark the exhibition’s closing in April 2027.)\u003c/p>\n"
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"innerHTML": "\n\u003cp>“My hope with this show is to stimulate people’s imagination, to reinvest people in theater,” Bauer says, calling the \u003ca href=\"https://www.kqed.org/arts/13978734/how-to-save-bay-area-theater-from-collapse-and-closures\">trend of local theater closures\u003c/a> “alarming.”\u003c/p>\n",
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"\n\u003cp>“My hope with this show is to stimulate people’s imagination, to reinvest people in theater,” Bauer says, calling the \u003ca href=\"https://www.kqed.org/arts/13978734/how-to-save-bay-area-theater-from-collapse-and-closures\">trend of local theater closures\u003c/a> “alarming.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>“But what’s better than seeing somebody up there moving?” she adds. “I just want to say ‘Hey, everybody, look at this valuable art form. And let’s go see a show.’”\u003c/p>\n",
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"\n\u003cp>“But what’s better than seeing somebody up there moving?” she adds. “I just want to say ‘Hey, everybody, look at this valuable art form. And let’s go see a show.’”\u003c/p>\n"
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"innerHTML": "\n\u003cp>‘\u003cem>\u003ca href=\"https://sfpl.org/exhibits/2026/11/05/street-stage-beaver-bauer\">Beaver Bauer: From Street to Stage\u003c/a>’ is on view at the Jewett Gallery in the San Francisco Public Library (100 Larkin St.) from Nov. 5, 2026–April 11, 2027.\u003c/em>\u003c/p>\n",
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"excerpt": "Beaver Bauer, who got her start in SF theater with the Angels of Light, is the focus of a new exhibition.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp class=\"wp-block-paragraph\">Debra “Beaver” Bauer had never really considered exhibiting her work as a costume designer. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“I’ve just always been so busy,” she says. “I just have always gone from one thing to the next, like we freelancers do.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">For Bauer, there was also the issue of humility, and a tendency to subsume her own ego into a collective craft, picked up from her time as a member of the Angels of Light. Bauer joined \u003ca href=\"https://www.kqed.org/arts/110836/stage_left_salutes_the_risky_daring_of_local_theater_artists\">the radical theater troupe\u003c/a> in San Francisco in 1970, and for the next 14 years put on gender-bending, spectacular productions in parks, community centers and the streets — anywhere the public could see them for free. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Those early years, full of resourceful costume-making and intense collaboration, prepared Bauer for a long and fruitful career backstage with Bay Area theater companies. In the decades since, she’s worked with \u003ca href=\"https://www.kqed.org/arts/tag/act\">A.C.T.\u003c/a>, San José’s American Musical Theater, Teatro ZinZanni and ice skater Brian Boitano, among many others.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f.jpg\" alt=\"\" class=\"wp-image-13995045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Beaver Bauer’s sketches line the walls of her San Francisco home. (Miles Cull/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp class=\"wp-block-paragraph\">“I’m better at fantasy than I am at reality, but I’ve done every kind of show,” Bauer, now 76, says. “I’ve done Sam Shepard, I’ve done a lot of Shakespeare, but I try to bring a little ‘Angel’ into all of it.” \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Evidence of all this creative work will soon be on display in \u003cem>\u003ca href=\"https://sfpl.org/exhibits/2026/11/05/street-stage-beaver-bauer\">From Street to Stage\u003c/a>\u003c/em>, a retrospective exhibition opening Nov. 5 in the San Francisco Public Library’s Jewett Gallery. Co-curated by Mark Johnson, Trisha Lagaso Goldberg and Theo B. Lau, the show includes full costumes, elaborate headdresses, Bauer’s design sketches, and photos and videos from various productions. \u003c/p>\n\n\n\n\n\n\u003cp class=\"wp-block-paragraph\">The exhibition is also one of the first to open as part of the \u003ca href=\"https://www.kqed.org/arts/13965626/further-triennial-northern-california-visual-art-2027\">Further Triennial\u003c/a>, a slate of over 100 exhibitions and events that tell a broader, deeper story of Northern California’s artistic past and present. The triennial officially launches in March 2027.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">For fans of Bauer’s work, and for Johnson as a curator, it’s important to see the craft of costume design honored as an art form — specifically a regional one. “This is a tribute to this experimental theater that crosses the line between visual art and classical theater,” Johnson says. “It’s one of the great legacies of San Francisco’s cultural heritage.” \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Most crucial to Bauer is that the exhibition is free to visit. She wants anyone who wanders in to know they too can dress up, just as she did as a young person in 1970s San Francisco.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“When you put something on that maybe you usually wouldn’t wear,” she says, “chances are you might discover or free something in yourself that you didn’t know was hiding in there.”\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1808\" height=\"1552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817.jpg\" alt=\"two young people in robes dance barefoot in front of crowd\" class=\"wp-image-13995259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817.jpg 1808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817-1536x1319.jpg 1536w\" sizes=\"auto, (max-width: 1808px) 100vw, 1808px\" />\u003cfigcaption class=\"wp-element-caption\">Rodney Price and Beaver Bauer at San Francisco’s Civic Center in 1970 or ’71. (Courtesy of Beaver Bauer)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Living outside ‘the money system’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Born in Ohio, Bauer felt herself pulled west from an early age. When she met Rodney Price, another future Angel, at Woodstock (“God, it’s such a movie script sometimes,” she says), the two decided to head to San Francisco. Price took a plane; Bauer rode a hippie school bus and hitchhiked her way across the country.\u003c/p>\n\n\n\n\n\n\u003cp class=\"wp-block-paragraph\">Once in the city, she encountered Hibiscus, founder of \u003ca href=\"https://www.kqed.org/arts/13910612/the-cockettes-san-francisco-public-library-fayette-hauser-scrumbly\">the Cockettes\u003c/a> and its offshoot, the Angels of Light, in all his bearded, be-robed glory.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“He was like a sun,” Bauer says, “like, in terms of people he could pull into his orbit, because he was just so amazing looking.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Bauer describes spending hours getting ready to go to the thrift store, or simply to walk down the street. “Anywhere we could get people to look at us was satisfying to us,” she says. “It was like trying on personalities for a day.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">The Angels lived together in San Francisco as part of the Free Food Family — a network of communal houses that pooled resources to offer up food, newsletters, medical care and adamantly free theater. “We believed in this principle of trying to avoid as much as possible the money system of the United States of America,” Bauer says.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">The group performed together until 1984. “We lost like 75% of the men during AIDS,” Bauer says. Hibiscus died in 1982 at the age of 32; Rodney Price died in 1988.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50.jpg\" alt=\"\" class=\"wp-image-13995046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Beaver Bauer poses for a portrait with a doll named ‘Her’ that she made for a friend. (Miles Cull/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp class=\"wp-block-paragraph\">Just outside the Jewett Gallery, Bauer has designed a wall to memorialize the late members of the Angels of Light, their photographs framed by lockets hanging from a drawing of a willow tree. Bauer identifies with the willow’s flexibility.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“We are resilient people after making it through the AIDS crisis, making it through all we have, my friends and I, through our lives,” she says. “We have been able to live on next to nothing.”\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Invention and imagination\u003c/strong>\u003c/h2>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Making something out of nothing is a trademark of Bauer’s work. In an image from the 1978 Angels of Light production \u003cem>Sci-Clones\u003c/em>, Bauer and Jessica Copen wear diaphanous garments made of shower curtains, their sparkly headpieces covered in glitter-encrusted stemware. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">A 1985 \u003cem>San Francisco Chronicle\u003c/em> profile called Bauer “the hottest costume designer in the Bay Area,” reveling in the paradox of how someone so good at reflecting and parodying high-end fashion could be living on such a meager budget.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Johnson says the countercultural roots of Bauer’s work are never far away, even in her designs for more mainstream productions. “She has brought that same kind of extravagant generosity to her work for all these other companies,” he says. Part of that generosity is her time, and her ability to truly see the person in front of her and make a costume that works for them.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1424\" height=\"2000\" data-id=\"13995261\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5.jpg\" alt=\"two performers in see-through robes with headdresses made of stemware\" class=\"wp-image-13995261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5.jpg 1424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5-768x1079.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5-1094x1536.jpg 1094w\" sizes=\"auto, (max-width: 1424px) 100vw, 1424px\" />\u003cfigcaption class=\"wp-element-caption\">Beaver Bauer and Jessica Copen in the Angels of Light production ‘Sci-Clones,’ 1978. (Photo by Daniel Nicoletta)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1600\" height=\"2000\" data-id=\"13995260\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f.jpg\" alt=\"three performers in red sea creature costumes\" class=\"wp-image-13995260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\" />\u003cfigcaption class=\"wp-element-caption\">D. Payomo, C. Alwyn-Parker and J. Hernandez, The Red Tipped Worms from ‘MU,’ First Voice, 2012. (Photo by Mark Shinegaga)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Costume-fitting is one of Bauer’s favorite parts of the process. She loves watching an actor transform into their character. “You have this time with this person where you can kind of sink into their head a little bit,” she says of the fitting room. “Can we take this to the level that will be perfect for this particular person, like \u003cem>their\u003c/em> Masha in \u003cem>Three Sisters\u003c/em> and not somebody else’s? And that relationship has always been a particular delight to me.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Most of Bauer’s costumes are witty, maximalist concoctions. Several process boards in the exhibition demonstrate how she pulls from vastly disparate inspirations to create a single costume. For an iconic look from Brenda Wong Aoki and Mark Izu’s \u003cem>\u003ca href=\"https://cargocollective.com/aokizu/MU\">MU\u003c/a>\u003c/em>, for example, Bauer cited red-tipped sea worms, Motown group the Supremes and wedding kimonos. Always materially inventive, Bauer made a seahorse costume in that same production with the help of red boba straws.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">It’s difficult, Johnson and Bauer both admit, to present the physicality of theater in a static exhibition. But Bauer has encouraged her friends to come to the Nov. 5 opening dressed in their finest. “I deeply, deeply desire to have something kinetic,” she says. (To that end, a parade will mark the exhibition’s closing in April 2027.)\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“My hope with this show is to stimulate people’s imagination, to reinvest people in theater,” Bauer says, calling the \u003ca href=\"https://www.kqed.org/arts/13978734/how-to-save-bay-area-theater-from-collapse-and-closures\">trend of local theater closures\u003c/a> “alarming.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“But what’s better than seeing somebody up there moving?” she adds. “I just want to say ‘Hey, everybody, look at this valuable art form. And let’s go see a show.’”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp class=\"wp-block-paragraph\">‘\u003cem>\u003ca href=\"https://sfpl.org/exhibits/2026/11/05/street-stage-beaver-bauer\">Beaver Bauer: From Street to Stage\u003c/a>’ is on view at the Jewett Gallery in the San Francisco Public Library (100 Larkin St.) from Nov. 5, 2026–April 11, 2027.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco has chosen its new Youth Poet Laureate: 17-year-old Karan Gupta.\u003c/p>\n\u003cp>Aisha Rae McCulloch, also 17, has been named Vice Laureate. Selected from a group of 16 students attending advanced workshops twice a month since September 2025, the winners were announced during a special ceremony Friday evening in the Koret Auditorium of \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-public-library\">San Francisco’s Main Library\u003c/a>.\u003c/p>\n\u003cp>The Youth Poet Laureate program was relaunched last year by \u003ca href=\"https://www.826valencia.org/\">826 Valencia\u003c/a>, \u003ca href=\"https://youthspeaks.org/\">Youth Speaks\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-public-library\">San Francisco Public Library\u003c/a> and the Mayor’s Office, taught by a rotation of established writers. These included San Francisco Poet Laureate \u003ca href=\"https://www.kqed.org/forum/2010101911658/sf-poet-laureate-genny-lim-and-the-del-sol-quartets-new-performance-celebrates-asian-american-diaspora\">Genny Lim\u003c/a>, who worked with the teens to help hone their craft.\u003c/p>\n\u003cp>[aside postID='arts_13985768']New Youth Poet Laureate Gupta is an Indian American born and raised in San Francisco, who says he inherited a love of writing from his dad. His poem “They Say Grief Arrives in an Instant but I Watched You Leave for Months” is about losing his father.\u003c/p>\n\u003cp>Vice Youth Poet Laureate McCulloch is a student at St. Ignatius College Preparatory, who discovered a love of poetry four years ago while attending a Youth Speaks teen poetry slam. In addition to her passion for poetry, she enjoys film, journalism and spending her spare time with her twin sister and their dog.\u003c/p>\n\u003cfigure id=\"attachment_13985754\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985754\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Youth-Poets.jpg\" alt=\"15 diverse teenagers stand in a classroom, smiling for the camera.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Youth-Poets.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Youth-Poets-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Youth-Poets-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Youth-Poets-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The students of the San Francisco Youth Poet Laureate Program during a workshop. \u003ccite>(James Anne Farrell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Concurrent with the announcement is a newly released anthology of all of the students’ work. \u003cem>I Can Feel You Across the Seas\u003c/em> is a reflection of the prodigious talents involved in the program. The book’s 32 poems are uplifting, shattering, consistently engaging and, most of all, vivid reflections of what it means to be a young person living in the Bay in the present day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book’s array of perspectives includes imaginative explorations of ancestry and belonging from Mei Chung and Katelyn Wong. Gupta and Paloma Francesca Carrubba explore the impacts of a racist and misogynistic external world on individual internal lives. McCulloch and Zofia Mosur do battle with existential dread using their own words. Ava Perez and Claribel Caamal Amodei write of the terror and trepidation of living under the threat of ICE. Fittingly, the collection also contains lyrical odes to San Francisco itself from Tika Zahiki and Aleksanda “Sasha” Miller.\u003c/p>\n\u003cp>(Attendees of \u003ca href=\"https://www.kqed.org/arts/13985440/claude-albino-alligator-memorial-golden-gate-park-san-francisco\">Claude Forever\u003c/a>, the memorial for Cal Academy’s beloved albino alligator, may recognize Miller from her reading of “Claude” in Golden Gate Park earlier this month.)\u003c/p>\n\u003cp>[aside postid='arts_13985672']Throughout the upcoming year, Gupta and McCulloch will act as cultural ambassadors for the city, through civic engagement and sharing of their work. All of the students who participated in the program will appear at \u003ca href=\"https://youthspeaks.org/teen-poetry-slam-2/\">Youth Speaks’ Annual Teen Poetry Slam\u003c/a> this Spring in San Francisco, which will be livestreamed on \u003ca href=\"https://www.youtube.com/youthspeaks\">Youth Speaks’ YouTube channel\u003c/a>.\u003c/p>\n\u003cp>During the launch of the Youth Poet Laureate Program, \u003ca href=\"https://www.kqed.org/news/12070484/tune-in-tonight-san-francisco-mayor-daniel-lurie-live-on-kqed\">Mayor Daniel Lurie\u003c/a> noted: “San Francisco’s future is being written right now by the next generation of San Franciscans and these extraordinary young poets. Their voices are bold and reflect the creativity of our city. I’m proud that we are celebrating this talent.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘I Can Feel You Across the Seas’ is available to purchase from 826 Valencia’s locations in the Mission (826 Valencia St., San Francisco) and Mission Bay (1310 4th St., San Francisco). It will be available to \u003ca href=\"https://www.826valencia.org/publications/\">read online\u003c/a> starting Jan. 26, 2026.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://www.kqed.org/event/5931\">second round of prelims\u003c/a> in the 2026 Youth Speaks Poetry Slam will be held at KQED headquarters (2601 Mariposa St., San Francisco) on Feb. 27, 2026 at 6 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco has chosen its new Youth Poet Laureate: 17-year-old Karan Gupta.\u003c/p>\n\u003cp>Aisha Rae McCulloch, also 17, has been named Vice Laureate. Selected from a group of 16 students attending advanced workshops twice a month since September 2025, the winners were announced during a special ceremony Friday evening in the Koret Auditorium of \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-public-library\">San Francisco’s Main Library\u003c/a>.\u003c/p>\n\u003cp>The Youth Poet Laureate program was relaunched last year by \u003ca href=\"https://www.826valencia.org/\">826 Valencia\u003c/a>, \u003ca href=\"https://youthspeaks.org/\">Youth Speaks\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-public-library\">San Francisco Public Library\u003c/a> and the Mayor’s Office, taught by a rotation of established writers. These included San Francisco Poet Laureate \u003ca href=\"https://www.kqed.org/forum/2010101911658/sf-poet-laureate-genny-lim-and-the-del-sol-quartets-new-performance-celebrates-asian-american-diaspora\">Genny Lim\u003c/a>, who worked with the teens to help hone their craft.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>New Youth Poet Laureate Gupta is an Indian American born and raised in San Francisco, who says he inherited a love of writing from his dad. His poem “They Say Grief Arrives in an Instant but I Watched You Leave for Months” is about losing his father.\u003c/p>\n\u003cp>Vice Youth Poet Laureate McCulloch is a student at St. Ignatius College Preparatory, who discovered a love of poetry four years ago while attending a Youth Speaks teen poetry slam. In addition to her passion for poetry, she enjoys film, journalism and spending her spare time with her twin sister and their dog.\u003c/p>\n\u003cfigure id=\"attachment_13985754\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985754\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Youth-Poets.jpg\" alt=\"15 diverse teenagers stand in a classroom, smiling for the camera.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Youth-Poets.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Youth-Poets-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Youth-Poets-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Youth-Poets-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The students of the San Francisco Youth Poet Laureate Program during a workshop. \u003ccite>(James Anne Farrell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Concurrent with the announcement is a newly released anthology of all of the students’ work. \u003cem>I Can Feel You Across the Seas\u003c/em> is a reflection of the prodigious talents involved in the program. The book’s 32 poems are uplifting, shattering, consistently engaging and, most of all, vivid reflections of what it means to be a young person living in the Bay in the present day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book’s array of perspectives includes imaginative explorations of ancestry and belonging from Mei Chung and Katelyn Wong. Gupta and Paloma Francesca Carrubba explore the impacts of a racist and misogynistic external world on individual internal lives. McCulloch and Zofia Mosur do battle with existential dread using their own words. Ava Perez and Claribel Caamal Amodei write of the terror and trepidation of living under the threat of ICE. Fittingly, the collection also contains lyrical odes to San Francisco itself from Tika Zahiki and Aleksanda “Sasha” Miller.\u003c/p>\n\u003cp>(Attendees of \u003ca href=\"https://www.kqed.org/arts/13985440/claude-albino-alligator-memorial-golden-gate-park-san-francisco\">Claude Forever\u003c/a>, the memorial for Cal Academy’s beloved albino alligator, may recognize Miller from her reading of “Claude” in Golden Gate Park earlier this month.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Throughout the upcoming year, Gupta and McCulloch will act as cultural ambassadors for the city, through civic engagement and sharing of their work. All of the students who participated in the program will appear at \u003ca href=\"https://youthspeaks.org/teen-poetry-slam-2/\">Youth Speaks’ Annual Teen Poetry Slam\u003c/a> this Spring in San Francisco, which will be livestreamed on \u003ca href=\"https://www.youtube.com/youthspeaks\">Youth Speaks’ YouTube channel\u003c/a>.\u003c/p>\n\u003cp>During the launch of the Youth Poet Laureate Program, \u003ca href=\"https://www.kqed.org/news/12070484/tune-in-tonight-san-francisco-mayor-daniel-lurie-live-on-kqed\">Mayor Daniel Lurie\u003c/a> noted: “San Francisco’s future is being written right now by the next generation of San Franciscans and these extraordinary young poets. Their voices are bold and reflect the creativity of our city. I’m proud that we are celebrating this talent.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘I Can Feel You Across the Seas’ is available to purchase from 826 Valencia’s locations in the Mission (826 Valencia St., San Francisco) and Mission Bay (1310 4th St., San Francisco). It will be available to \u003ca href=\"https://www.826valencia.org/publications/\">read online\u003c/a> starting Jan. 26, 2026.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://www.kqed.org/event/5931\">second round of prelims\u003c/a> in the 2026 Youth Speaks Poetry Slam will be held at KQED headquarters (2601 Mariposa St., San Francisco) on Feb. 27, 2026 at 6 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s time to break out the glitter and grab your favorite picture book — Dec. 12 is now officially \u003ca href=\"https://www.dragstoryhour.org/\">Drag Story Hour\u003c/a> Day in San Francisco. Earlier this week, the San Francisco Board of Supervisors passed a resolution to recognize the literacy program, which started 10 years ago at the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-public-library\">San Francisco Public Library\u003c/a> (SFPL).\u003c/p>\n\u003cp>“Drag Story Hour creates space for queer role models in children’s stories and teaches kids that authenticity and individuality should be celebrated,” said Supervisor Rafael Mandelman at the Dec. 9 meeting. [aside postid='arts_13984523']\u003c/p>\n\u003cp>Founded by author Michelle Tea and Radar Productions, with support from fellow writers Julián Delgado Lopera and Virgie Tovar, Drag Story Hour invites drag performers to read to children at libraries, bookstores and schools around the world. San Francisco’s Per Sia read at the first-ever Drag Story Hour at Harvey Milk Memorial branch of the SFPL in 2015. Since then, the program has expanded to 30 chapters around the U.S. as well as Japan, Mexico and several other countries.\u003c/p>\n\u003cp>On Dec. 14, SFPL will celebrate Drag Story Hour at its main branch with a family-friendly day of festivities and readings with drag queens, kings and royals, including Per Sia. An after-school arts educator by day, Per Sia was recently \u003ca href=\"https://www.kqed.org/arts/13983135/per-sia-san-francisco-new-drag-laureate\">named San Francisco Drag Laureate\u003c/a>.\u003c/p>\n\u003cp>“A lot of amazing queer things have come out of San Francisco, Drag Story Hour being one of them,” Per Sia told KQED in October.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Drag Story Hour’s success has come in spite of right wing attacks, including from Proud Boys, who stormed a 2022 Drag Story Hour at the San Lorenzo Public Library and shouted slurs at performer Panda Dulce. (Dulce has since told her story in a \u003ca href=\"https://www.kqed.org/news/12046470/her-drag-story-hour-was-interrupted-by-the-proud-boys-no-one-was-held-accountable\">short film about the aftermath of the ordeal\u003c/a>.) Amid a rise in anti-LGBTQ+ legislation, Montana and Tennessee passed bills to ban drag performances in front of children, but legal challenges have blocked the laws’ enforcement.\u003c/p>\n\u003cp>“It’s still so important to not just highlight the program because, you know, literacy, children,” Per Sia said, “but also highlight queer joy and all the things that people say are wrong with us, which are not [wrong].”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sfpl.org/releases/2025/12/05/drag-story-hour-celebrates-10-years-stories-glitter-and-community\">Drag Story Hour celebrates 10 years\u003c/a> at San Francisco Public Library on Dec. 14, 12–5 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time to break out the glitter and grab your favorite picture book — Dec. 12 is now officially \u003ca href=\"https://www.dragstoryhour.org/\">Drag Story Hour\u003c/a> Day in San Francisco. Earlier this week, the San Francisco Board of Supervisors passed a resolution to recognize the literacy program, which started 10 years ago at the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-public-library\">San Francisco Public Library\u003c/a> (SFPL).\u003c/p>\n\u003cp>“Drag Story Hour creates space for queer role models in children’s stories and teaches kids that authenticity and individuality should be celebrated,” said Supervisor Rafael Mandelman at the Dec. 9 meeting. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Founded by author Michelle Tea and Radar Productions, with support from fellow writers Julián Delgado Lopera and Virgie Tovar, Drag Story Hour invites drag performers to read to children at libraries, bookstores and schools around the world. San Francisco’s Per Sia read at the first-ever Drag Story Hour at Harvey Milk Memorial branch of the SFPL in 2015. Since then, the program has expanded to 30 chapters around the U.S. as well as Japan, Mexico and several other countries.\u003c/p>\n\u003cp>On Dec. 14, SFPL will celebrate Drag Story Hour at its main branch with a family-friendly day of festivities and readings with drag queens, kings and royals, including Per Sia. An after-school arts educator by day, Per Sia was recently \u003ca href=\"https://www.kqed.org/arts/13983135/per-sia-san-francisco-new-drag-laureate\">named San Francisco Drag Laureate\u003c/a>.\u003c/p>\n\u003cp>“A lot of amazing queer things have come out of San Francisco, Drag Story Hour being one of them,” Per Sia told KQED in October.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Drag Story Hour’s success has come in spite of right wing attacks, including from Proud Boys, who stormed a 2022 Drag Story Hour at the San Lorenzo Public Library and shouted slurs at performer Panda Dulce. (Dulce has since told her story in a \u003ca href=\"https://www.kqed.org/news/12046470/her-drag-story-hour-was-interrupted-by-the-proud-boys-no-one-was-held-accountable\">short film about the aftermath of the ordeal\u003c/a>.) Amid a rise in anti-LGBTQ+ legislation, Montana and Tennessee passed bills to ban drag performances in front of children, but legal challenges have blocked the laws’ enforcement.\u003c/p>\n\u003cp>“It’s still so important to not just highlight the program because, you know, literacy, children,” Per Sia said, “but also highlight queer joy and all the things that people say are wrong with us, which are not [wrong].”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sfpl.org/releases/2025/12/05/drag-story-hour-celebrates-10-years-stories-glitter-and-community\">Drag Story Hour celebrates 10 years\u003c/a> at San Francisco Public Library on Dec. 14, 12–5 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Remember during the pandemic, when we all just sat around doing kind things for ourselves? \u003ca href=\"https://www.kqed.org/arts/13879390/everything-you-need-to-know-about-sourdough-starters-but-were-afraid-to-ask\">Making sourdough\u003c/a>, doing \u003ca href=\"https://www.kqed.org/arts/13879872/dont-worry-your-new-jigsaw-puzzle-obsession-is-perfectly-normal\">puzzles\u003c/a> and watching \u003ca href=\"https://www.kqed.org/arts/13886027/sir-patrick-stewart-reading-sonnets-is-a-soothing-balm-in-2020s-hellscape\">Sir Patrick Stewart read sonnets\u003c/a>? Aside from that whole being-locked-up-at-home thing, it was kind of nice! Let’s face it, in the current social and political climate, it’s fair to say we could all use a little more niceness right now.\u003c/p>\n\u003cp>[aside postid='arts_13983779']Apparently, the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-public-library\">San Francisco Public Library\u003c/a> got the memo, because this weekend, they’re holding a series of events that seem tailor-made to ease stress and help the city momentarily forget the problems of the world. (And these activities get us out of this awful weather! Double win!)\u003c/p>\n\u003cp>It all starts on Friday at the library’s main branch (100 Larkin St.) in the Steve Silver Music Center. There, the beautiful souls of the \u003ca href=\"https://www.tendwellcollective.com/sfpl/#sfpl\">TendWell Collective\u003c/a> will lead a gentle yoga session suitable for all ages and abilities. The session begins at 2 p.m. and participants are asked to bring a yoga mat if possible. If not, that’s fine too. Because guess what? Everything’s going to be fine! TendWell promises to “move mindfully and slowly, to soothe the nervous system, stretch the body, and build a little strength and stability along the way.” Lovely.\u003c/p>\n\u003cfigure id=\"attachment_13983865\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983865\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tendwell-sfpl.png\" alt=\"Three women in relaxed clothes perform sideways yoga stretches, aided by chairs.\" width=\"2000\" height=\"1213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tendwell-sfpl.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tendwell-sfpl-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tendwell-sfpl-768x466.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tendwell-sfpl-1536x932.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">TendWell yoga is hosting a yoga session for all ages and abilities at the San Francisco Public Library on Saturday. \u003ccite>(Courtesy of TendWell Yoga/SFPL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday morning, the cozy theme continues at the Sunset branch (1305 18th Ave.), which will hold a two-hour \u003ca href=\"https://sfpl.org/events/2025/11/22/activity-mahjong-library-beginners\">mahjong for beginners\u003c/a> class at 10:15 a.m. Because nothing starts your day more gently than the clickety-clack of ornate tiles in the company of new friends.\u003c/p>\n\u003cp>Later that afternoon, the main branch holds a (\u003cem>how wonderful is this?\u003c/em>) \u003ca href=\"https://sfpl.org/events/2025/11/22/workshop-cut-paste-drop-collage-session\">public collaging session\u003c/a>. Truly, an opportunity to find out if your inner rage can be transformed into \u003ca href=\"https://www.kqed.org/arts/13855367/jess-sfmoma-anglim-gilbert-gallery\">whimsical “constellations” à la Jess\u003c/a>, or perhaps political ponderings similar to \u003ca href=\"https://www.kqed.org/arts/13980194/winston-smith-new-art-handsaws-punk-anti-capitalist-san-francisco-fallout-gallery\">Winston Smith\u003c/a>’s. The artistic gathering will happen at 1 p.m. at the Steve Silver Music Center, and all materials are provided. Has anyone without children even \u003cem>seen\u003c/em> a glue stick since 2021? Not me. Let’s pick some back up and see if they guide us to sunnier places.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If all that artistic expression doesn’t calm you down, head to the second floor at 3:30 p.m. for a “\u003ca href=\"https://sfpl.org/events/2025/11/22/workshop-mindful-moments-stories-and-wellness-practices\">Mindful Moments\u003c/a>” workshop. Host Erynne Elkins will lead a story time that incorporates themes of mindfulness. Elkins is a former nanny who’s also certified in breathwork, so you can expect to float out of the library quite thoroughly soothed once this session is over. And if you love it? She hosts another one on Dec. 20, same time, same place.\u003c/p>\n\u003cp>[aside postid='arts_13983729']If it’s your kids that need calm, take them to \u003ca href=\"https://sfpl.org/events/2025/11/22/early-learning-arabic-story-hour\">Arabic Story Hour\u003c/a>, hosted by Radwa Hussein. At the main library’s Children’s Creative Center at 2 p.m., Hussein will share stories and songs in both English and Arabic, and doing what she does best: fostering cultural connections with joy and love.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And there you have it. If the library keeps this kind of programming up for the rest of the year, we might just get to enter 2026 feeling emotionally stable and mentally rested. God bless the public library.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Apparently, the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-public-library\">San Francisco Public Library\u003c/a> got the memo, because this weekend, they’re holding a series of events that seem tailor-made to ease stress and help the city momentarily forget the problems of the world. (And these activities get us out of this awful weather! Double win!)\u003c/p>\n\u003cp>It all starts on Friday at the library’s main branch (100 Larkin St.) in the Steve Silver Music Center. There, the beautiful souls of the \u003ca href=\"https://www.tendwellcollective.com/sfpl/#sfpl\">TendWell Collective\u003c/a> will lead a gentle yoga session suitable for all ages and abilities. The session begins at 2 p.m. and participants are asked to bring a yoga mat if possible. If not, that’s fine too. Because guess what? Everything’s going to be fine! TendWell promises to “move mindfully and slowly, to soothe the nervous system, stretch the body, and build a little strength and stability along the way.” Lovely.\u003c/p>\n\u003cfigure id=\"attachment_13983865\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983865\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tendwell-sfpl.png\" alt=\"Three women in relaxed clothes perform sideways yoga stretches, aided by chairs.\" width=\"2000\" height=\"1213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tendwell-sfpl.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tendwell-sfpl-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tendwell-sfpl-768x466.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tendwell-sfpl-1536x932.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">TendWell yoga is hosting a yoga session for all ages and abilities at the San Francisco Public Library on Saturday. \u003ccite>(Courtesy of TendWell Yoga/SFPL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday morning, the cozy theme continues at the Sunset branch (1305 18th Ave.), which will hold a two-hour \u003ca href=\"https://sfpl.org/events/2025/11/22/activity-mahjong-library-beginners\">mahjong for beginners\u003c/a> class at 10:15 a.m. Because nothing starts your day more gently than the clickety-clack of ornate tiles in the company of new friends.\u003c/p>\n\u003cp>Later that afternoon, the main branch holds a (\u003cem>how wonderful is this?\u003c/em>) \u003ca href=\"https://sfpl.org/events/2025/11/22/workshop-cut-paste-drop-collage-session\">public collaging session\u003c/a>. Truly, an opportunity to find out if your inner rage can be transformed into \u003ca href=\"https://www.kqed.org/arts/13855367/jess-sfmoma-anglim-gilbert-gallery\">whimsical “constellations” à la Jess\u003c/a>, or perhaps political ponderings similar to \u003ca href=\"https://www.kqed.org/arts/13980194/winston-smith-new-art-handsaws-punk-anti-capitalist-san-francisco-fallout-gallery\">Winston Smith\u003c/a>’s. The artistic gathering will happen at 1 p.m. at the Steve Silver Music Center, and all materials are provided. Has anyone without children even \u003cem>seen\u003c/em> a glue stick since 2021? Not me. Let’s pick some back up and see if they guide us to sunnier places.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If all that artistic expression doesn’t calm you down, head to the second floor at 3:30 p.m. for a “\u003ca href=\"https://sfpl.org/events/2025/11/22/workshop-mindful-moments-stories-and-wellness-practices\">Mindful Moments\u003c/a>” workshop. Host Erynne Elkins will lead a story time that incorporates themes of mindfulness. Elkins is a former nanny who’s also certified in breathwork, so you can expect to float out of the library quite thoroughly soothed once this session is over. And if you love it? She hosts another one on Dec. 20, same time, same place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If it’s your kids that need calm, take them to \u003ca href=\"https://sfpl.org/events/2025/11/22/early-learning-arabic-story-hour\">Arabic Story Hour\u003c/a>, hosted by Radwa Hussein. At the main library’s Children’s Creative Center at 2 p.m., Hussein will share stories and songs in both English and Arabic, and doing what she does best: fostering cultural connections with joy and love.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And there you have it. If the library keeps this kind of programming up for the rest of the year, we might just get to enter 2026 feeling emotionally stable and mentally rested. God bless the public library.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 1886, the industrialist Andrew Carnegie began funding the construction of free public libraries across the United States, eventually lending his name to 1,681 “Carnegie libraries.” Chances are you’ve stepped into a Carnegie library at some point — in San Francisco, the \u003ca href=\"https://sfpl.org/locations/mission\">Mission\u003c/a>, \u003ca href=\"https://sfpl.org/locations/golden-gate-valley\">Golden Gate Valley\u003c/a> and \u003ca href=\"https://sfpl.org/locations/chinatown\">Chinatown\u003c/a> branch libraries, among others, were all built with the help of the philanthropist’s grants. \u003c/p>\n\u003cp>[aside postID='forum_2010101911662']Now, thanks to the \u003ca href=\"https://www.carnegie.org/\">Carnegie Corporation of New York\u003c/a>, Carnegie libraries across the country will each receive \u003ca href=\"https://www.carnegie.org/news/articles/hundreds-of-carnegie-libraries-to-receive-10000-gifts-in-celebration-of-united-states-250th-anniversary/\">a $10,000 donation\u003c/a> as part of a $20 million initiative to commemorate the 250th anniversary of the signing of the Declaration of Independence. The funds, to be delivered in January 2026, are unrestricted, and can be used by the libraries in any way they see fit.\u003c/p>\n\u003cp>Roughly 1,280 Carnegie libraries in the U.S. are still in operation \u003ci>and\u003c/i> acknowledge their link to Carnegie, making them eligible to receive the funds. The initiative aims to support “America’s civic institutions and organizations that foster civic participation and bring people together,” according to a press release from the Carnegie Corporation.\u003c/p>\n\u003cp>San Francisco and Oakland house the majority of still-operating \u003ca href=\"https://www.carnegie-libraries.org/\">Carnegie libraries in the Bay Area\u003c/a>. Other locations include \u003ca href=\"https://www.sjpl.org/locations/east-branch/\">East San Jose\u003c/a>, \u003ca href=\"https://srpubliclibrary.org/about/brief-history-of-san-rafael-public-library/\">San Rafael\u003c/a> and \u003ca href=\"https://www.sananselmo.gov/135/History\">San Anselmo\u003c/a>.\u003c/p>\n\u003cp>While the $10,000 grants are welcome support, public library systems — including those in the Bay Area — continue to face financial headwinds and deferred maintenance. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the national level, President Trump signed an executive order earlier this year seeking to dismantle the entire \u003ca href=\"https://www.imls.gov/\">Institute of Museum and Library Services\u003c/a>. A total of $30 million in IMLS grants meant for museums and libraries were terminated or frozen this year. (The IMLS recently announced it will support “\u003ca href=\"https://www.imls.gov/newsroom/news-and-announcements/IMLS-sponsors-freedom-trucks\">Freedom Trucks\u003c/a>,” mobile exhibits of American history, to celebrate the country’s semiquincentennial.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For the Carnegie Foundation, the library donations are part of an effort to reduce political polarization and, in the process, help strengthen these civic institutions facing persistent funding challenges.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, thanks to the \u003ca href=\"https://www.carnegie.org/\">Carnegie Corporation of New York\u003c/a>, Carnegie libraries across the country will each receive \u003ca href=\"https://www.carnegie.org/news/articles/hundreds-of-carnegie-libraries-to-receive-10000-gifts-in-celebration-of-united-states-250th-anniversary/\">a $10,000 donation\u003c/a> as part of a $20 million initiative to commemorate the 250th anniversary of the signing of the Declaration of Independence. The funds, to be delivered in January 2026, are unrestricted, and can be used by the libraries in any way they see fit.\u003c/p>\n\u003cp>Roughly 1,280 Carnegie libraries in the U.S. are still in operation \u003ci>and\u003c/i> acknowledge their link to Carnegie, making them eligible to receive the funds. The initiative aims to support “America’s civic institutions and organizations that foster civic participation and bring people together,” according to a press release from the Carnegie Corporation.\u003c/p>\n\u003cp>San Francisco and Oakland house the majority of still-operating \u003ca href=\"https://www.carnegie-libraries.org/\">Carnegie libraries in the Bay Area\u003c/a>. Other locations include \u003ca href=\"https://www.sjpl.org/locations/east-branch/\">East San Jose\u003c/a>, \u003ca href=\"https://srpubliclibrary.org/about/brief-history-of-san-rafael-public-library/\">San Rafael\u003c/a> and \u003ca href=\"https://www.sananselmo.gov/135/History\">San Anselmo\u003c/a>.\u003c/p>\n\u003cp>While the $10,000 grants are welcome support, public library systems — including those in the Bay Area — continue to face financial headwinds and deferred maintenance. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the national level, President Trump signed an executive order earlier this year seeking to dismantle the entire \u003ca href=\"https://www.imls.gov/\">Institute of Museum and Library Services\u003c/a>. A total of $30 million in IMLS grants meant for museums and libraries were terminated or frozen this year. (The IMLS recently announced it will support “\u003ca href=\"https://www.imls.gov/newsroom/news-and-announcements/IMLS-sponsors-freedom-trucks\">Freedom Trucks\u003c/a>,” mobile exhibits of American history, to celebrate the country’s semiquincentennial.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For the Carnegie Foundation, the library donations are part of an effort to reduce political polarization and, in the process, help strengthen these civic institutions facing persistent funding challenges.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13973095/bay-beats-san-francisco-public-library-streaming-local-musicians\">Bay Beats\u003c/a> is celebrating local music once again with a free concert at Golden Gate Park’s bandshell this Saturday, Oct. 18.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-public-library\">The San Francisco Public Library\u003c/a>’s free streaming service will be hosting math rockers \u003ca href=\"https://www.instagram.com/stilldeer_/?hl=en\">Still Deer\u003c/a>, San Leandro-based rapper \u003ca href=\"https://www.sofarsounds.com/artists/casey-cope\">Casey Cope\u003c/a>, San Jose indie-pop artist \u003ca href=\"https://www.youtube.com/channel/UCu9Dm575IZ4ICBZ-Bm6B9qw\">Pacing\u003c/a> and Oakland garage punks \u003ca href=\"https://wearethestrangeones.bandcamp.com/\">The Strange Ones\u003c/a> as part of the third annual Bay Beats launch party.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4Es5RD5SSPE&list=RD4Es5RD5SSPE&start_radio=1\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13936864/bay-beats-san-francisco-public-library-streaming-local-music\">Founded back in 2023\u003c/a>, the Bay Beats program adds albums of every genre by local musicians to its catalog annually. All four artists appearing on Saturday are new additions to the platform, and represent a tiny fraction of the 180 albums being added to Bay Beats this weekend. The concert is a celebration of these newcomers, and its lineup reflects the eclectic mix music-lovers can find in \u003ca href=\"https://baybeats.sfpl.org/\">the collection\u003c/a>.\u003c/p>\n\u003cp>“We wanted to celebrate with the community that makes our music scene so special,” librarian and Bay Beats team lead Brian Weaver said in a statement. “These artists represent the incredible range of talent we’re adding to our catalog, and we can’t wait to share their sounds with everyone at the park.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to the live music lineup, the afternoon party will include giveaways, games and a set by DJ Apple Gomez. Don’t worry about packing a picnic — there will also be food trucks.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jYIifBHp_8s\u003c/p>\n\u003cp>Bay Beats gives each of its chosen artists a $250 honorarium to stream their work. (It would take approximately 66,000 Spotify plays to earn the same amount.) Every year, a star panel of judges decides which albums will make it onto the platform after a three-month open submissions period.\u003c/p>\n\u003cp>Bay Beats last held a free concert at the music concourse in May and has previously hosted shows at San Francisco libraries. This Saturday’s show is made possible by sponsorships from Amoeba Music, White Crate, \u003ca href=\"https://www.kqed.org/arts/13839714/bff-fm-celebrates-five-years-of-quirky-eclectic-online-radio\">BFF.fm\u003c/a>, Illuminate and the \u003ca href=\"https://www.kqed.org/news/tag/san-francisco-recreation-and-park-commission\">San Francisco Recreation and Parks Department.\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://baybeats.sfpl.org/special-message\">The 3rd Annual Bay Beats Launch Party, \u003c/a>featuring The Strange Ones, Pacing, Casey Cope and Still Deer, takes place at the Golden Gate Park Bandshell (75 Hagiwara Tea Garden Dr.) between 1 p.m and 5 p.m. on Oct. 18, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13973095/bay-beats-san-francisco-public-library-streaming-local-musicians\">Bay Beats\u003c/a> is celebrating local music once again with a free concert at Golden Gate Park’s bandshell this Saturday, Oct. 18.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-public-library\">The San Francisco Public Library\u003c/a>’s free streaming service will be hosting math rockers \u003ca href=\"https://www.instagram.com/stilldeer_/?hl=en\">Still Deer\u003c/a>, San Leandro-based rapper \u003ca href=\"https://www.sofarsounds.com/artists/casey-cope\">Casey Cope\u003c/a>, San Jose indie-pop artist \u003ca href=\"https://www.youtube.com/channel/UCu9Dm575IZ4ICBZ-Bm6B9qw\">Pacing\u003c/a> and Oakland garage punks \u003ca href=\"https://wearethestrangeones.bandcamp.com/\">The Strange Ones\u003c/a> as part of the third annual Bay Beats launch party.\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/4Es5RD5SSPE'\n title='//www.youtube.com/embed/4Es5RD5SSPE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13936864/bay-beats-san-francisco-public-library-streaming-local-music\">Founded back in 2023\u003c/a>, the Bay Beats program adds albums of every genre by local musicians to its catalog annually. All four artists appearing on Saturday are new additions to the platform, and represent a tiny fraction of the 180 albums being added to Bay Beats this weekend. The concert is a celebration of these newcomers, and its lineup reflects the eclectic mix music-lovers can find in \u003ca href=\"https://baybeats.sfpl.org/\">the collection\u003c/a>.\u003c/p>\n\u003cp>“We wanted to celebrate with the community that makes our music scene so special,” librarian and Bay Beats team lead Brian Weaver said in a statement. “These artists represent the incredible range of talent we’re adding to our catalog, and we can’t wait to share their sounds with everyone at the park.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to the live music lineup, the afternoon party will include giveaways, games and a set by DJ Apple Gomez. Don’t worry about packing a picnic — there will also be food trucks.\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/jYIifBHp_8s'\n title='//www.youtube.com/embed/jYIifBHp_8s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bay Beats gives each of its chosen artists a $250 honorarium to stream their work. (It would take approximately 66,000 Spotify plays to earn the same amount.) Every year, a star panel of judges decides which albums will make it onto the platform after a three-month open submissions period.\u003c/p>\n\u003cp>Bay Beats last held a free concert at the music concourse in May and has previously hosted shows at San Francisco libraries. This Saturday’s show is made possible by sponsorships from Amoeba Music, White Crate, \u003ca href=\"https://www.kqed.org/arts/13839714/bff-fm-celebrates-five-years-of-quirky-eclectic-online-radio\">BFF.fm\u003c/a>, Illuminate and the \u003ca href=\"https://www.kqed.org/news/tag/san-francisco-recreation-and-park-commission\">San Francisco Recreation and Parks Department.\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://baybeats.sfpl.org/special-message\">The 3rd Annual Bay Beats Launch Party, \u003c/a>featuring The Strange Ones, Pacing, Casey Cope and Still Deer, takes place at the Golden Gate Park Bandshell (75 Hagiwara Tea Garden Dr.) between 1 p.m and 5 p.m. on Oct. 18, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>*Record scratch*\u003c/em>… a lot of working musicians could actually make more money from the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-public-library\">San Francisco Public Library\u003c/a> than from Spotify.\u003c/p>\n\u003cp>The library’s \u003ca href=\"https://baybeats.sfpl.org/\">Bay Beats\u003c/a> streaming service, which \u003ca href=\"https://www.kqed.org/arts/13936864/bay-beats-san-francisco-public-library-streaming-local-music\">launched in 2023\u003c/a>, is currently accepting music submissions through May 31, and if selected by a panel of staff and musical experts, artists get paid a $250 honorarium to have their album featured on the platform. That’s roughly the equivalent of what one would make from 65,789 Spotify streams.\u003c/p>\n\u003cp>While Spotify boasts of injecting billions of dollars into the music industry, critics argue that only elite, top-tier artists make enough money to eat off of streams. The platform isn’t necessarily about music discovery anymore, either. As journalist Liz Pelly explains in her recent book, \u003ca href=\"https://www.kqed.org/forum/2010101908652/liz-pelly-on-spotify\">\u003ci>Mood Machine\u003c/i>\u003c/a>, Spotify’s goal is to keep users constantly on the app by providing background music for cooking, studying and other daily routines.\u003c/p>\n\u003cp>[aside postid='arts_13972152']For those who care about their local scene, and want more than background noise, Bay Beats could be an antidote. Since its debut, the library’s streaming service has amassed an eclectic collection of over 300 albums by local artists that anyone can stream or download for free. The music on Bay Beats suits a wide variety of tastes: There’s the punchy synth-punk of \u003ca href=\"https://baybeats.sfpl.org/albums/cold-beat-war-garden\">Cold Beat\u003c/a>; raps about mindfulness from \u003ca href=\"https://baybeats.sfpl.org/albums/jahi-forward-future\">Jahi\u003c/a>; salsa by \u003ca href=\"https://baybeats.sfpl.org/albums/bululu-camuri\">Bululú\u003c/a>; and Arabic-infused psych rock by \u003ca href=\"https://baybeats.sfpl.org/albums/camellia-boutros-refuge\">Camellia Boutros\u003c/a>.\u003c/p>\n\u003cp>Bay Beats is also curating live shows at libraries, like an upcoming \u003ca href=\"https://baybeats.sfpl.org/special-message\">daytime concert with R&B and jazz singer Rita Lackey\u003c/a> on March 22 at the Ingleside branch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Artists who want to be featured on the Bay Beats streaming service submit two to three tracks for jurors to review. \u003ca href=\"https://baybeats.sfpl.org/faq\">To qualify\u003c/a>, artists must live in one of the Bay Area’s nine counties, and have an album’s worth of music (which the library defines as at least five tracks or 15 minutes).\u003c/p>\n\u003cp>This year’s \u003ca href=\"https://baybeats.sfpl.org/curators\">judges panel\u003c/a> includes some heavy hitters. There’s Peter Kadin, head of marketing at EMPIRE, a record label that started in San Francisco and has since gone global; Yunfei Nan, a multi-instrumentalist and leader of the Mandarin-language indie pop band Howan; Jesse ‘Chuy’ Varela, the music and program director at KCSM JAZZ 91.1; and several others.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More information on \u003ca href=\"https://baybeats.sfpl.org/submit/album-data\">how to apply can be found here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>*Record scratch*\u003c/em>… a lot of working musicians could actually make more money from the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-public-library\">San Francisco Public Library\u003c/a> than from Spotify.\u003c/p>\n\u003cp>The library’s \u003ca href=\"https://baybeats.sfpl.org/\">Bay Beats\u003c/a> streaming service, which \u003ca href=\"https://www.kqed.org/arts/13936864/bay-beats-san-francisco-public-library-streaming-local-music\">launched in 2023\u003c/a>, is currently accepting music submissions through May 31, and if selected by a panel of staff and musical experts, artists get paid a $250 honorarium to have their album featured on the platform. That’s roughly the equivalent of what one would make from 65,789 Spotify streams.\u003c/p>\n\u003cp>While Spotify boasts of injecting billions of dollars into the music industry, critics argue that only elite, top-tier artists make enough money to eat off of streams. The platform isn’t necessarily about music discovery anymore, either. As journalist Liz Pelly explains in her recent book, \u003ca href=\"https://www.kqed.org/forum/2010101908652/liz-pelly-on-spotify\">\u003ci>Mood Machine\u003c/i>\u003c/a>, Spotify’s goal is to keep users constantly on the app by providing background music for cooking, studying and other daily routines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For those who care about their local scene, and want more than background noise, Bay Beats could be an antidote. Since its debut, the library’s streaming service has amassed an eclectic collection of over 300 albums by local artists that anyone can stream or download for free. The music on Bay Beats suits a wide variety of tastes: There’s the punchy synth-punk of \u003ca href=\"https://baybeats.sfpl.org/albums/cold-beat-war-garden\">Cold Beat\u003c/a>; raps about mindfulness from \u003ca href=\"https://baybeats.sfpl.org/albums/jahi-forward-future\">Jahi\u003c/a>; salsa by \u003ca href=\"https://baybeats.sfpl.org/albums/bululu-camuri\">Bululú\u003c/a>; and Arabic-infused psych rock by \u003ca href=\"https://baybeats.sfpl.org/albums/camellia-boutros-refuge\">Camellia Boutros\u003c/a>.\u003c/p>\n\u003cp>Bay Beats is also curating live shows at libraries, like an upcoming \u003ca href=\"https://baybeats.sfpl.org/special-message\">daytime concert with R&B and jazz singer Rita Lackey\u003c/a> on March 22 at the Ingleside branch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Artists who want to be featured on the Bay Beats streaming service submit two to three tracks for jurors to review. \u003ca href=\"https://baybeats.sfpl.org/faq\">To qualify\u003c/a>, artists must live in one of the Bay Area’s nine counties, and have an album’s worth of music (which the library defines as at least five tracks or 15 minutes).\u003c/p>\n\u003cp>This year’s \u003ca href=\"https://baybeats.sfpl.org/curators\">judges panel\u003c/a> includes some heavy hitters. There’s Peter Kadin, head of marketing at EMPIRE, a record label that started in San Francisco and has since gone global; Yunfei Nan, a multi-instrumentalist and leader of the Mandarin-language indie pop band Howan; Jesse ‘Chuy’ Varela, the music and program director at KCSM JAZZ 91.1; and several others.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More information on \u003ca href=\"https://baybeats.sfpl.org/submit/album-data\">how to apply can be found here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Oakland Tribune’s First Black Photojournalist Captured the ‘Black Aesthetic’ of the ’60s and ’70s",
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"content": "\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>[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",
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"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>",
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"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>",
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"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>",
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"title": "Dazié Grego, 'Middle Passaged'",
"headTitle": "Dazié Grego, ‘Middle Passaged’ | KQED",
"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",
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"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>",
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"slug": "the-cockettes-san-francisco-public-library-fayette-hauser-scrumbly",
"title": "Celebrating the Sexual Anarchy of The Cockettes at the San Francisco Public Library",
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"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",
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"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>",
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"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>",
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"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",
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"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>",
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"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>",
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"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>",
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"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>",
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"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>",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"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. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. 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": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"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/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"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": {
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"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"
}
},
"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",
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