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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>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>\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>\u003c/p>\u003c/div>",
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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>\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>\u003c/p>\u003c/div>",
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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>\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>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",
"headTitle": "The Oakland Tribune’s First Black Photojournalist Captured the ‘Black Aesthetic’ of the ’60s and ’70s | KQED",
"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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"headTitle": "Celebrating the Sexual Anarchy of The Cockettes at the San Francisco Public Library | KQED",
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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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"content": "\u003cp>The San Francisco Main Library opened its doors to \u003ca href=\"https://www.facebook.com/sfpl.org/posts/10158892804730609\" rel=\"noopener noreferrer\" target=\"_blank\">cheering patrons\u003c/a> today for the first time since March 13, 2020.\u003c/p>\n\u003cp>The reopening kicks off a new program called “Browse and Bounce,” offering limited indoor service on the library’s first floor, Monday–Saturday, 10:00am–5:30pm and Sunday, noon–5:30pm. Additional branches in Chinatown (May 17); Mission Bay (May 18); Ortega, Richmond, and Visitacion Valley (June 21); and Excelsior (June 22) will reopen within the “Browse and Bounce” program in the coming weeks.\u003c/p>\n\u003cp>For the time being, patrons can browse library books, music, movies and more, and access the public computers for 50-minute sessions, as well as use the printers and photocopiers. Visits are limited to 60 minutes each. The library will continue to offer SFPL To-Go, which lets people pick up holds at the front door.\u003c/p>\n\u003cp>Additional floors of the Main Library will reopen as soon as staffing allows, but history buffs, long denied access to the \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco History Center\u003c/a> on the Main Library’s 6th floor, can visit that collection by appointment.\u003c/p>\n\u003cp>Capacity will be limited and patrons must maintain safety protocols, including social distancing and wearing masks. But even with these limitations (including no chairs for reading or study), today’s reopening was a joyous one for both library patrons and staff.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Main Library opened its doors to \u003ca href=\"https://www.facebook.com/sfpl.org/posts/10158892804730609\" rel=\"noopener noreferrer\" target=\"_blank\">cheering patrons\u003c/a> today for the first time since March 13, 2020.\u003c/p>\n\u003cp>The reopening kicks off a new program called “Browse and Bounce,” offering limited indoor service on the library’s first floor, Monday–Saturday, 10:00am–5:30pm and Sunday, noon–5:30pm. Additional branches in Chinatown (May 17); Mission Bay (May 18); Ortega, Richmond, and Visitacion Valley (June 21); and Excelsior (June 22) will reopen within the “Browse and Bounce” program in the coming weeks.\u003c/p>\n\u003cp>For the time being, patrons can browse library books, music, movies and more, and access the public computers for 50-minute sessions, as well as use the printers and photocopiers. Visits are limited to 60 minutes each. The library will continue to offer SFPL To-Go, which lets people pick up holds at the front door.\u003c/p>\n\u003cp>Additional floors of the Main Library will reopen as soon as staffing allows, but history buffs, long denied access to the \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco History Center\u003c/a> on the Main Library’s 6th floor, can visit that collection by appointment.\u003c/p>\n\u003cp>Capacity will be limited and patrons must maintain safety protocols, including social distancing and wearing masks. But even with these limitations (including no chairs for reading or study), today’s reopening was a joyous one for both library patrons and staff.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Although we may not be able to gather physically to experience it, the Bay Area’s creative spirit and artistic drive has persisted throughout the pandemic. On Jan. 28, KQED and its partners present a unique opportunity to congregate virtually and keep that spirit alive during the third San Francisco edition of the Night of Ideas. An initiative of the Institut Français, more than 200 Night of Ideas will occur on one evening in over 35 cities across the world, from Finland to Sydney to South Africa. \u003c/p>\n\u003cp>While typically held in person at the San Francisco Public Library as a seven-hour marathon of speakers and performances, this year’s event has been adapted into a free two-hour virtual event featuring some of the Bay Area’s most prominent leaders, thinkers, and artists. Meditating on the theme of “closing the distance,” San Francisco’s performers and speakers will explore how we can create a better future with more inclusive and equitable civic spaces. \u003c/p>\n\u003cp>The program includes a special conversation between KQED’s own Mina Kim and San Francisco Mayor London Breed, an intergenerational collaboration between the Destiny Arts Youth Performance Company and the Elders Project, performances from young poets with Youth Speaks and Chapter 510, and much more. Taking full advantage of the virtual format, speakers from beyond the Bay Area will participate as well, including farmer, artist, and writer Nikiko Masumoto, who will join from her family farm in the Central Valley. \u003c/p>\n\u003cp>To be broadcast globally from France as part of a 24-hour program by the Institut Français, San Francisco’s Night of Ideas also includes tributes to our essential workers and artists, and features some of the Bay Area’s iconic scenery. “This Night of Ideas will remind us of everything that we love about our city,” said Mayor Breed. “And hopefully provide some fun and joy during an otherwise challenging time.”\u003c/p>\n\u003cp>\u003cem>The third annual Night of Ideas takes place on Jan. 28, from 7-9pm PST. \u003ca href=\"https://www.nightofideassf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Although we may not be able to gather physically to experience it, the Bay Area’s creative spirit and artistic drive has persisted throughout the pandemic. On Jan. 28, KQED and its partners present a unique opportunity to congregate virtually and keep that spirit alive during the third San Francisco edition of the Night of Ideas. An initiative of the Institut Français, more than 200 Night of Ideas will occur on one evening in over 35 cities across the world, from Finland to Sydney to South Africa. \u003c/p>\n\u003cp>While typically held in person at the San Francisco Public Library as a seven-hour marathon of speakers and performances, this year’s event has been adapted into a free two-hour virtual event featuring some of the Bay Area’s most prominent leaders, thinkers, and artists. Meditating on the theme of “closing the distance,” San Francisco’s performers and speakers will explore how we can create a better future with more inclusive and equitable civic spaces. \u003c/p>\n\u003cp>The program includes a special conversation between KQED’s own Mina Kim and San Francisco Mayor London Breed, an intergenerational collaboration between the Destiny Arts Youth Performance Company and the Elders Project, performances from young poets with Youth Speaks and Chapter 510, and much more. Taking full advantage of the virtual format, speakers from beyond the Bay Area will participate as well, including farmer, artist, and writer Nikiko Masumoto, who will join from her family farm in the Central Valley. \u003c/p>\n\u003cp>To be broadcast globally from France as part of a 24-hour program by the Institut Français, San Francisco’s Night of Ideas also includes tributes to our essential workers and artists, and features some of the Bay Area’s iconic scenery. “This Night of Ideas will remind us of everything that we love about our city,” said Mayor Breed. “And hopefully provide some fun and joy during an otherwise challenging time.”\u003c/p>\n\u003cp>\u003cem>The third annual Night of Ideas takes place on Jan. 28, from 7-9pm PST. \u003ca href=\"https://www.nightofideassf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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