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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you miss thumbing through the pages of a hardcover and taking in that old library book smell, there’s good news: the San Francisco Public Library is now open for \u003ca href=\"https://sfpl.org/sfpl-to-go\" target=\"_blank\" rel=\"noopener noreferrer\">front-door service\u003c/a> at its main and Excelsior branches, where it offers contactless, curbside pickup for materials requested ahead of time.\u003c/p>\n\u003cp>The news comes just as the library announces its pick for the 2021 One City One Book program: Chanel Miller’s memoir \u003ca href=\"https://www.npr.org/2019/09/23/762028606/chanel-miller-says-know-my-name-as-she-reflects-on-her-assault-by-brock-turner\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Know My Name\u003c/em>\u003c/a>. Miller’s harrowing account of her sexual assault at the hands of Stanford swimmer Brock Turner first made headlines from her \u003ca href=\"https://www.buzzfeednews.com/article/katiejmbaker/heres-the-powerful-letter-the-stanford-victim-read-to-her-ra\" target=\"_blank\" rel=\"noopener noreferrer\">court statement\u003c/a> as “Emily Doe” in 2016, and in 2019 she reclaimed her story and publicly revealed her identity. \u003cem>Know My Name \u003c/em>took off with rave reviews, praised for its emotional vulnerability and sobering indictment of the criminal justice system.\u003c/p>\n\u003cp>In March and April 2021, the San Francisco Public Library plans to roll out a variety of programming around \u003cem>Know My Name\u003c/em>, including book clubs, author talks, panels and more. Miller, a visual artist, is also designing a new library card for SFPL, and—pending a full reopening—the library will host an exhibition of her drawings. That exhibition will be an extension of Miller’s installation about healing at the Asian Art Museum, \u003ca href=\"https://exhibitions.asianart.org/exhibitions/chanel-miller-i-was-i-am-i-will-be/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>I was, I am, I will be\u003c/i>\u003c/a>\u003cem>, \u003c/em>which is currently on view and visible from outside of the museum on Hyde Street.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MLn7CQqyUY8'\n title='//www.youtube.com/embed/MLn7CQqyUY8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When Sophie Appel and Cole Solinger opened San Francisco’s \u003ca href=\"https://www.instagram.com/delaplanesf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Delaplane\u003c/a> gallery at 483 14th Street, they were unaware the narrow storefront was already a landmark of local art history. Theirs was a new enterprise, exhibiting young and emerging artists, many of them alums of the San Francisco Art Institute. But in the weeks and months that followed their October 2019 inaugural show, Appel and Solinger heard more and more stories from those who’d frequented the same spot in the early ’90s. They learned that Delaplane shared the address, a quarter-century removed, with a space called Kiki Gallery.\u003c/p>\n\u003cp>Despite a short existence, or perhaps because of it, Kiki is the stuff of legend. Founded in 1993 by artist and activist Rick Jacobsen, the gallery was only open for 18 months. During that time, Kiki hosted over 150 artists and performers, among them future international names and beloved Bay Area artists: Lutz Bacher, Nao Bustamante, Jerome Caja, Frances Stark, Chris Johanson, Nayland Blake, Catherine Opie, Rex Ray and \u003ca href=\"https://www.kqed.org/arts/13859939/remembering-kevin-killian-poet-playwright-and-artist-who-gave-us-courage\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Killian\u003c/a>. Arts writer Glen Helfand \u003ca href=\"https://static1.squarespace.com/static/573520facf80a15b05a67492/t/573c1a2ac6fc087da45a5ed2/1463556651523/Helfand+Art+AIDS+America+1st+text.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">remembers the space\u003c/a> as “somewhere between commercial gallery and clubhouse,” a reflection of “Jacobson’s wit, showmanship, and endearing cynicism.”\u003c/p>\n\u003cfigure id=\"attachment_13883067\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg\" alt=\"\" width=\"640\" height=\"927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640-160x232.jpg 160w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Delaplane, Colter Jacobson’s flag residency (left) and Lukaza Branfman-Verissimo, ‘Untitled.’ \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gallery came from Jacobsen’s desire to gather an arts community on his own, rather on behalf of an organization. Faced with his own AIDS diagnosis, he quit his job at a nonprofit and put all his money into the project. “If I couldn’t do anything firsthand about AIDS, I could be at least a motivating force in art—perhaps the next best thing,” he said in a \u003ca href=\"https://www.stretcher.org/features/kiki_exhibitions_bits/\" target=\"_blank\" rel=\"noopener noreferrer\">1994 interview\u003c/a>.\u003c/p>\n\u003cp>The city at the time was devastated by both the epidemic and an economic downturn, but Jacobsen created something vibrant, irreverent and (paradoxically) lasting. The titles of his shows speak volumes: the scatological \u003ci>Caca @ Kiki\u003c/i>; the gallows humor of \u003ci>Sick Joke: Bitterness, Sarcasm, and Irony in the Second AIDS Decade\u003c/i>; and the self-referential artiness of \u003ci>Piece: Nine Artists Consider Yoko Ono\u003c/i>, the gallery’s final exhibition in February 1995. Jacobsen died of AIDS-related lymphoma in 1997.\u003c/p>\n\u003cp>Decades later, in a very different San Francisco, the punny, carefully assembled \u003ci>Peace: Nine Artists Consider Kiki Gallery\u003c/i> honors the site-specific history of 483 14th Street, gathering artists with a direct relationship to Kiki alongside a younger generation now considering its legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show begins outside, where Lukaza Branfman-Verissimo’s window installation speaks directly to Kiki: “27 years / both born in 1993 / celebrating you / who / knew we would / be here in this / way / making a sa / fe space / for the bay / qu / eers.” With this overarching sentiment, \u003ci>Peace\u003c/i> becomes a passing of torches—not just from one group of artists to another, but back and forth, between members of a multigenerational community.\u003c/p>\n\u003cp>For those without firsthand experience of Kiki’s heyday, a booklet put together by Wayne Smith includes ephemera and pictures of individual artworks, installations and performances. (Smith encourages viewers to visit the James C. Hormel LGBTQIA Center at the San Francisco Public Library for more of the gallery’s \u003ca href=\"https://sfpl.bibliocommons.com/item/show/2108471093\" target=\"_blank\" rel=\"noopener noreferrer\">ephemera\u003c/a>.) Additional archival material comes in Delaplane’s back room, where a vitrine displays the spread-out contents of \u003ci>Kikibox\u003c/i>, a 1994 kit of editioned objects by gallery-affiliated artists.\u003c/p>\n\u003cfigure id=\"attachment_13883063\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Kikibox.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Kikibox,’ 1994. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is not the first time an exhibition has been organized in memory of Kiki Gallery—Ratio 3 hosted \u003ci>\u003ca href=\"https://www.ratio3.org/exhibitions/kiki-the-proof-is-in-the-pudding/installation\" target=\"_blank\" rel=\"noopener noreferrer\">The Proof is in the Pudding\u003c/a>\u003c/i>, curated by Colter Jacobsen and Kevin Killian, in 2008. But it is the first time the honoring has happened on-site, and the shape of the space lends \u003ci>Peace\u003c/i> a special resonance.\u003c/p>\n\u003cp>The younger artists in the show respond as much to Kiki as they do the similar conditions of both galleries’ temporal surroundings: a pandemic, widespread unemployment, experiences of injustice, isolation and despair. In Kennedy Morgan’s very vertical panting (an homage to a Jim Winters screen print) \u003ci>After the Parakeet Attack\u003c/i>, a scratched and bleeding green hand draws back a curtain to reveal what looks to be a solid, impassable surface.\u003c/p>\n\u003cp>rel robinson (who has written for KQED Arts) contributes a textile piece dotted with some of the most indelible images of the last four months: the \u003ca href=\"https://www.nytimes.com/2020/03/14/technology/coronavirus-purell-wipes-amazon-sellers.html\" target=\"_blank\" rel=\"noopener noreferrer\">sanitizer stockpile\u003c/a>; the \u003ca href=\"https://www.dispatch.com/news/20200413/gop-lawmakers-protesters-call-on-dewine-to-begin-re-opening-ohio\" target=\"_blank\" rel=\"noopener noreferrer\">Ohio zombies\u003c/a>; \u003ca href=\"https://www.instagram.com/p/B9w3JvYjQ5S/\" target=\"_blank\" rel=\"noopener noreferrer\">penguins\u003c/a> freed from their aquarium bounds. The application of digital images onto tangible, domestic materials conjures a vision of a feed scrolled while propped up in bed—a new world experienced through one’s screen.\u003c/p>\n\u003cfigure id=\"attachment_13883062\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_install_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Peace’: Kennedy Morgan, ‘After the Parakeet Attack (left); Ocean Escalanti, ‘Hole in the Wall,’ 2020 (right); D-L Alvarez, ‘Scar,’ 2020 (above). \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite plenty of reasons for despair, some of the artists in \u003ci>Peace\u003c/i> do find—well, \u003ci>peace\u003c/i>. In Ocean Escalanti’s small acrylic painting \u003ci>Hole in the Wall\u003c/i>, lush greenery and peeping eyes surround a vignette of two heads close together, a perfect depiction of the safe space described by Branfman-Verissimo’s installation. And back outside, Delaplane’s “flag residency” hoists a charming banner by Colter Jacobsen that resembles a giant, almost empty roll of polka-dotted toilet paper. (\u003ci>Caca @ Kiki\u003c/i>, indeed.)\u003c/p>\n\u003cp>Representing the original members of the Kiki scene, D-L Alvarez, Cliff Hengst, Scott Hewicker and Jennifer Locke present works that reference both then and now. Alvarez’s delicate graphite-on-paper works, collectively titled \u003ci>Peanut\u003c/i>, carry weight without explaining themselves, personal scraps of memory and influence that sit comfortably above Smith’s booklet, itself a Kiki scrapbook.\u003c/p>\n\u003cp>Next on the wall, Hengst’s untitled painting, reading “IT IS HER,” references a voicemail Yoko Ono herself left at the gallery, on the occasion of Kiki’s final show. The slight pink tinge at the upper right corner of the canvas is a nice echo of Alvarez’s other contribution to \u003ci>Peace\u003c/i>, a dotted line of plaster and pigment that traces the shape of Kiki’s former loft at the back of the main gallery.\u003c/p>\n\u003cfigure id=\"attachment_13883166\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Locke_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13883166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Jennifer Locke, ‘Séance for R.J. (Candle, Rubber, Levitation, Blood),’ 2020. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a narrow hallway between the front and back spaces, a video by Locke fits snugly into an odd little corner, playing a short loop of repeated rituals—a seance for Jacobsen, but also an evocation of life under shelter in place. (\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Locke_1200.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">A scene\u003c/a> of a condom rolled over a dildo is nicely matched by Hewicker’s sex toy still life.)\u003c/p>\n\u003cp>The exhibition’s parting elements come from Sahar Khoury, in a stacked floor sculpture of boxes and a mixed media textile piece made out of an SFMOMA tote bag. “I like everything about you but you,” the modified canvas bag reads, a fitting comment on the museum’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" target=\"_blank\" rel=\"noopener noreferrer\">recent inability\u003c/a> to take a stance on racial justice.\u003c/p>\n\u003cp>There’s nothing monumental in \u003ci>Peace\u003c/i>. Most of the work is small-scale, provisional, made with materials that don’t fit many definitions of “high art.” And yet in these artworks, the principles for which Kiki stood, the ideas that compelled Jacobsen to open its doors in the first place, persist. \u003ci>Peace\u003c/i> underscores the importance of making art in difficult times—as a way of documenting, but also transcending. 483 14th Street is once again a space for the exchange of artistic ideas; in this case, a conversation that spans at least one participant’s entire lifetime. And until we can gather for events that might live up to Kiki’s legendary status, those exchanges will happen one viewer at a time, in half-hour increments.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Peace: Nine Artists Consider Kiki Gallery’ is on view though July 25 at Delaplane (483 14th Street, San Francisco). Open by appointment, \u003ca href=\"https://calendly.com/delaplane\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Sophie Appel and Cole Solinger opened San Francisco’s \u003ca href=\"https://www.instagram.com/delaplanesf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Delaplane\u003c/a> gallery at 483 14th Street, they were unaware the narrow storefront was already a landmark of local art history. Theirs was a new enterprise, exhibiting young and emerging artists, many of them alums of the San Francisco Art Institute. But in the weeks and months that followed their October 2019 inaugural show, Appel and Solinger heard more and more stories from those who’d frequented the same spot in the early ’90s. They learned that Delaplane shared the address, a quarter-century removed, with a space called Kiki Gallery.\u003c/p>\n\u003cp>Despite a short existence, or perhaps because of it, Kiki is the stuff of legend. Founded in 1993 by artist and activist Rick Jacobsen, the gallery was only open for 18 months. During that time, Kiki hosted over 150 artists and performers, among them future international names and beloved Bay Area artists: Lutz Bacher, Nao Bustamante, Jerome Caja, Frances Stark, Chris Johanson, Nayland Blake, Catherine Opie, Rex Ray and \u003ca href=\"https://www.kqed.org/arts/13859939/remembering-kevin-killian-poet-playwright-and-artist-who-gave-us-courage\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Killian\u003c/a>. Arts writer Glen Helfand \u003ca href=\"https://static1.squarespace.com/static/573520facf80a15b05a67492/t/573c1a2ac6fc087da45a5ed2/1463556651523/Helfand+Art+AIDS+America+1st+text.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">remembers the space\u003c/a> as “somewhere between commercial gallery and clubhouse,” a reflection of “Jacobson’s wit, showmanship, and endearing cynicism.”\u003c/p>\n\u003cfigure id=\"attachment_13883067\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg\" alt=\"\" width=\"640\" height=\"927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640-160x232.jpg 160w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Delaplane, Colter Jacobson’s flag residency (left) and Lukaza Branfman-Verissimo, ‘Untitled.’ \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gallery came from Jacobsen’s desire to gather an arts community on his own, rather on behalf of an organization. Faced with his own AIDS diagnosis, he quit his job at a nonprofit and put all his money into the project. “If I couldn’t do anything firsthand about AIDS, I could be at least a motivating force in art—perhaps the next best thing,” he said in a \u003ca href=\"https://www.stretcher.org/features/kiki_exhibitions_bits/\" target=\"_blank\" rel=\"noopener noreferrer\">1994 interview\u003c/a>.\u003c/p>\n\u003cp>The city at the time was devastated by both the epidemic and an economic downturn, but Jacobsen created something vibrant, irreverent and (paradoxically) lasting. The titles of his shows speak volumes: the scatological \u003ci>Caca @ Kiki\u003c/i>; the gallows humor of \u003ci>Sick Joke: Bitterness, Sarcasm, and Irony in the Second AIDS Decade\u003c/i>; and the self-referential artiness of \u003ci>Piece: Nine Artists Consider Yoko Ono\u003c/i>, the gallery’s final exhibition in February 1995. Jacobsen died of AIDS-related lymphoma in 1997.\u003c/p>\n\u003cp>Decades later, in a very different San Francisco, the punny, carefully assembled \u003ci>Peace: Nine Artists Consider Kiki Gallery\u003c/i> honors the site-specific history of 483 14th Street, gathering artists with a direct relationship to Kiki alongside a younger generation now considering its legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show begins outside, where Lukaza Branfman-Verissimo’s window installation speaks directly to Kiki: “27 years / both born in 1993 / celebrating you / who / knew we would / be here in this / way / making a sa / fe space / for the bay / qu / eers.” With this overarching sentiment, \u003ci>Peace\u003c/i> becomes a passing of torches—not just from one group of artists to another, but back and forth, between members of a multigenerational community.\u003c/p>\n\u003cp>For those without firsthand experience of Kiki’s heyday, a booklet put together by Wayne Smith includes ephemera and pictures of individual artworks, installations and performances. (Smith encourages viewers to visit the James C. Hormel LGBTQIA Center at the San Francisco Public Library for more of the gallery’s \u003ca href=\"https://sfpl.bibliocommons.com/item/show/2108471093\" target=\"_blank\" rel=\"noopener noreferrer\">ephemera\u003c/a>.) Additional archival material comes in Delaplane’s back room, where a vitrine displays the spread-out contents of \u003ci>Kikibox\u003c/i>, a 1994 kit of editioned objects by gallery-affiliated artists.\u003c/p>\n\u003cfigure id=\"attachment_13883063\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Kikibox.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Kikibox,’ 1994. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is not the first time an exhibition has been organized in memory of Kiki Gallery—Ratio 3 hosted \u003ci>\u003ca href=\"https://www.ratio3.org/exhibitions/kiki-the-proof-is-in-the-pudding/installation\" target=\"_blank\" rel=\"noopener noreferrer\">The Proof is in the Pudding\u003c/a>\u003c/i>, curated by Colter Jacobsen and Kevin Killian, in 2008. But it is the first time the honoring has happened on-site, and the shape of the space lends \u003ci>Peace\u003c/i> a special resonance.\u003c/p>\n\u003cp>The younger artists in the show respond as much to Kiki as they do the similar conditions of both galleries’ temporal surroundings: a pandemic, widespread unemployment, experiences of injustice, isolation and despair. In Kennedy Morgan’s very vertical panting (an homage to a Jim Winters screen print) \u003ci>After the Parakeet Attack\u003c/i>, a scratched and bleeding green hand draws back a curtain to reveal what looks to be a solid, impassable surface.\u003c/p>\n\u003cp>rel robinson (who has written for KQED Arts) contributes a textile piece dotted with some of the most indelible images of the last four months: the \u003ca href=\"https://www.nytimes.com/2020/03/14/technology/coronavirus-purell-wipes-amazon-sellers.html\" target=\"_blank\" rel=\"noopener noreferrer\">sanitizer stockpile\u003c/a>; the \u003ca href=\"https://www.dispatch.com/news/20200413/gop-lawmakers-protesters-call-on-dewine-to-begin-re-opening-ohio\" target=\"_blank\" rel=\"noopener noreferrer\">Ohio zombies\u003c/a>; \u003ca href=\"https://www.instagram.com/p/B9w3JvYjQ5S/\" target=\"_blank\" rel=\"noopener noreferrer\">penguins\u003c/a> freed from their aquarium bounds. The application of digital images onto tangible, domestic materials conjures a vision of a feed scrolled while propped up in bed—a new world experienced through one’s screen.\u003c/p>\n\u003cfigure id=\"attachment_13883062\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_install_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Peace’: Kennedy Morgan, ‘After the Parakeet Attack (left); Ocean Escalanti, ‘Hole in the Wall,’ 2020 (right); D-L Alvarez, ‘Scar,’ 2020 (above). \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite plenty of reasons for despair, some of the artists in \u003ci>Peace\u003c/i> do find—well, \u003ci>peace\u003c/i>. In Ocean Escalanti’s small acrylic painting \u003ci>Hole in the Wall\u003c/i>, lush greenery and peeping eyes surround a vignette of two heads close together, a perfect depiction of the safe space described by Branfman-Verissimo’s installation. And back outside, Delaplane’s “flag residency” hoists a charming banner by Colter Jacobsen that resembles a giant, almost empty roll of polka-dotted toilet paper. (\u003ci>Caca @ Kiki\u003c/i>, indeed.)\u003c/p>\n\u003cp>Representing the original members of the Kiki scene, D-L Alvarez, Cliff Hengst, Scott Hewicker and Jennifer Locke present works that reference both then and now. Alvarez’s delicate graphite-on-paper works, collectively titled \u003ci>Peanut\u003c/i>, carry weight without explaining themselves, personal scraps of memory and influence that sit comfortably above Smith’s booklet, itself a Kiki scrapbook.\u003c/p>\n\u003cp>Next on the wall, Hengst’s untitled painting, reading “IT IS HER,” references a voicemail Yoko Ono herself left at the gallery, on the occasion of Kiki’s final show. The slight pink tinge at the upper right corner of the canvas is a nice echo of Alvarez’s other contribution to \u003ci>Peace\u003c/i>, a dotted line of plaster and pigment that traces the shape of Kiki’s former loft at the back of the main gallery.\u003c/p>\n\u003cfigure id=\"attachment_13883166\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Locke_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13883166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Jennifer Locke, ‘Séance for R.J. (Candle, Rubber, Levitation, Blood),’ 2020. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a narrow hallway between the front and back spaces, a video by Locke fits snugly into an odd little corner, playing a short loop of repeated rituals—a seance for Jacobsen, but also an evocation of life under shelter in place. (\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Locke_1200.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">A scene\u003c/a> of a condom rolled over a dildo is nicely matched by Hewicker’s sex toy still life.)\u003c/p>\n\u003cp>The exhibition’s parting elements come from Sahar Khoury, in a stacked floor sculpture of boxes and a mixed media textile piece made out of an SFMOMA tote bag. “I like everything about you but you,” the modified canvas bag reads, a fitting comment on the museum’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" target=\"_blank\" rel=\"noopener noreferrer\">recent inability\u003c/a> to take a stance on racial justice.\u003c/p>\n\u003cp>There’s nothing monumental in \u003ci>Peace\u003c/i>. Most of the work is small-scale, provisional, made with materials that don’t fit many definitions of “high art.” And yet in these artworks, the principles for which Kiki stood, the ideas that compelled Jacobsen to open its doors in the first place, persist. \u003ci>Peace\u003c/i> underscores the importance of making art in difficult times—as a way of documenting, but also transcending. 483 14th Street is once again a space for the exchange of artistic ideas; in this case, a conversation that spans at least one participant’s entire lifetime. And until we can gather for events that might live up to Kiki’s legendary status, those exchanges will happen one viewer at a time, in half-hour increments.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (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>\u003ci>‘Peace: Nine Artists Consider Kiki Gallery’ is on view though July 25 at Delaplane (483 14th Street, San Francisco). Open by appointment, \u003ca href=\"https://calendly.com/delaplane\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While most California officials focus on current-day solutions for the COVID-19 pandemic, at least one state office is already considering its place in future history books.\u003c/p>\n\u003cp>The California State Archives, a division of the Secretary of State, on Thursday launched the \u003ca href=\"https://www.sos.ca.gov/archives/california-covid-19-archive/\" rel=\"noopener noreferrer\" target=\"_blank\">California COVID-19 Archive\u003c/a>. All California residents are welcome to submit their stories reflecting the challenges and uncertainty of the current pandemic, and the ways they have adapted. Submissions are accepted at an online portal \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSefeBSLV-qI8atr9aJtqH6g6h-L6UA4ODCVynOqBq_Pi4bTJw/viewform?usp=sf_link\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>“Your submission will serve as an important contribution to this community memory project and will be a critical primary source so that future generations can better understand how the COVID-19 pandemic impacted Californians,” reads the site. Submissions will become a part of the official state historical collection. \u003c/p>\n\u003cp>The state project mirrors local efforts to document San Francisco’s response to the pandemic, led by the San Francisco Public Library. The \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center/digital-collections/covid19-time-capsule\" rel=\"noopener noreferrer\" target=\"_blank\">COVID-19 Community Time Capsule\u003c/a> project solicits stories as well as a broad range of ephemera, including “photographs; blog posts or social media posts (screenshots okay); video or audio; notices, signs or posters, including government notices or signs from private businesses; letters, emails, postcards; community newspapers; personal journal and diary entries; and creative work, such as drawings, paintings, graffiti, poetry, recipes and games.”\u003c/p>\n\u003cp>Submissions will become a permanent part of the City and County Archives of San Francisco, and can be made \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center/digital-collections/covid19-time-capsule\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>— Gabe Meline\u003c/em> (\u003ca href=\"https://twitter.com/gmeline\" rel=\"noopener noreferrer\" target=\"_blank\">@gmeline\u003c/a>)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While most California officials focus on current-day solutions for the COVID-19 pandemic, at least one state office is already considering its place in future history books.\u003c/p>\n\u003cp>The California State Archives, a division of the Secretary of State, on Thursday launched the \u003ca href=\"https://www.sos.ca.gov/archives/california-covid-19-archive/\" rel=\"noopener noreferrer\" target=\"_blank\">California COVID-19 Archive\u003c/a>. All California residents are welcome to submit their stories reflecting the challenges and uncertainty of the current pandemic, and the ways they have adapted. Submissions are accepted at an online portal \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSefeBSLV-qI8atr9aJtqH6g6h-L6UA4ODCVynOqBq_Pi4bTJw/viewform?usp=sf_link\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>“Your submission will serve as an important contribution to this community memory project and will be a critical primary source so that future generations can better understand how the COVID-19 pandemic impacted Californians,” reads the site. Submissions will become a part of the official state historical collection. \u003c/p>\n\u003cp>The state project mirrors local efforts to document San Francisco’s response to the pandemic, led by the San Francisco Public Library. The \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center/digital-collections/covid19-time-capsule\" rel=\"noopener noreferrer\" target=\"_blank\">COVID-19 Community Time Capsule\u003c/a> project solicits stories as well as a broad range of ephemera, including “photographs; blog posts or social media posts (screenshots okay); video or audio; notices, signs or posters, including government notices or signs from private businesses; letters, emails, postcards; community newspapers; personal journal and diary entries; and creative work, such as drawings, paintings, graffiti, poetry, recipes and games.”\u003c/p>\n\u003cp>Submissions will become a permanent part of the City and County Archives of San Francisco, and can be made \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center/digital-collections/covid19-time-capsule\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>— Gabe Meline\u003c/em> (\u003ca href=\"https://twitter.com/gmeline\" rel=\"noopener noreferrer\" target=\"_blank\">@gmeline\u003c/a>)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-do-list-rebirth-brass-band-holiday-train-ride-and-more-for-nov-14-21",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Grace Cheung and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>The Rebirth Brass Band\u003c/strong>: You might have seen the Rebirth Brass Band in the TV show \u003cem>Tremé\u003c/em>—they’re one of the best brass bands in New Orleans, and definitely one of the longest-running. But its not like they’re a dusty, old-fashioned ensemble upholding a bygone tradition. Some of their younger family members have been \u003ca href=\"https://en.wikipedia.org/wiki/Soulja_Slim\" rel=\"noopener noreferrer\" target=\"_blank\">well-known rappers\u003c/a> in New Orleans, so they incorporate hip-hop into their music, and their club appearances are full-on sweaty dance parties. The Rebirth Brass Band play Thursday and Friday, Nov. 14 and 15, at the Starline Social Club in Oakland (\u003ca href=\"https://starlinesocialclub.com/calendar\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>) and on Saturday, Nov. 16, at the Mezzanine in San Francisco (\u003ca href=\"https://mezzaninesf.com/events/rebirth-brass-band/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>). \u003c/p>\n\u003cp>\u003cstrong>Rexx Life Raj\u003c/strong>: There’s something about Rexx Life Raj’s new album, \u003cem>Father Figure 3: Somewhere Out There\u003c/em>, that makes you want to break out your journal and reflect on where you’ve been and where you’re going. He’s a truly gifted lyricist who writes with such a relatable openness and vulnerability. Rexx Life Raj is from Berkeley, and he’s been on the come-up in recent years, building up his cult following through lyrical honesty rather than going viral through some gimmick. He plays Wednesday, Nov. 20, at the Independent in San Francisco. \u003ca href=\"https://www.theindependentsf.com/event/9945715/rexx-life-raj/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Holiday Train Ride\u003c/strong>: It’s one of the best times of the year: repeat \u003cem>Polar Express\u003c/em> viewing season! And if you’re already feeling the holiday spirit creep up on you, the Napa Valley Wine Train is doing a special holiday-themed ride that sounds like a real-life Polar Express experience. Under their new ownership, the wine train has been doing a bunch of these themed rides, like murder mystery dinners and beer tasting trips. This Christmas-themed one includes hot chocolate, cookies, and a Santa on board. It runs from Nov. 19 through the end of the year. \u003ca href=\"https://www.winetrain.com/events/santa-train/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>50th Anniversary of the Occupation of Alcatraz\u003c/strong>: It’s the anniversary of an important event in Bay Area history this month: the Native American occupation of Alcatraz in 1969. For 19 months, 89 American Indians and supporters took up residence on Alcatraz to protest the treatment of indigenous peoples by the U.S. government. Many of the original occupants are still alive, and next week, some of them will get together to tell their stories of organizing and living on the island. That includes adults from three different tribes, as well as two participants who were children on the island in 1969. That’s on Tuesday, Nov. 19, at the main branch of the public library in San Francisco. \u003ca href=\"https://sfpl.org/?pg=1038012501\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Grace Cheung and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>The Rebirth Brass Band\u003c/strong>: You might have seen the Rebirth Brass Band in the TV show \u003cem>Tremé\u003c/em>—they’re one of the best brass bands in New Orleans, and definitely one of the longest-running. But its not like they’re a dusty, old-fashioned ensemble upholding a bygone tradition. Some of their younger family members have been \u003ca href=\"https://en.wikipedia.org/wiki/Soulja_Slim\" rel=\"noopener noreferrer\" target=\"_blank\">well-known rappers\u003c/a> in New Orleans, so they incorporate hip-hop into their music, and their club appearances are full-on sweaty dance parties. The Rebirth Brass Band play Thursday and Friday, Nov. 14 and 15, at the Starline Social Club in Oakland (\u003ca href=\"https://starlinesocialclub.com/calendar\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>) and on Saturday, Nov. 16, at the Mezzanine in San Francisco (\u003ca href=\"https://mezzaninesf.com/events/rebirth-brass-band/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>). \u003c/p>\n\u003cp>\u003cstrong>Rexx Life Raj\u003c/strong>: There’s something about Rexx Life Raj’s new album, \u003cem>Father Figure 3: Somewhere Out There\u003c/em>, that makes you want to break out your journal and reflect on where you’ve been and where you’re going. He’s a truly gifted lyricist who writes with such a relatable openness and vulnerability. Rexx Life Raj is from Berkeley, and he’s been on the come-up in recent years, building up his cult following through lyrical honesty rather than going viral through some gimmick. He plays Wednesday, Nov. 20, at the Independent in San Francisco. \u003ca href=\"https://www.theindependentsf.com/event/9945715/rexx-life-raj/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Holiday Train Ride\u003c/strong>: It’s one of the best times of the year: repeat \u003cem>Polar Express\u003c/em> viewing season! And if you’re already feeling the holiday spirit creep up on you, the Napa Valley Wine Train is doing a special holiday-themed ride that sounds like a real-life Polar Express experience. Under their new ownership, the wine train has been doing a bunch of these themed rides, like murder mystery dinners and beer tasting trips. This Christmas-themed one includes hot chocolate, cookies, and a Santa on board. It runs from Nov. 19 through the end of the year. \u003ca href=\"https://www.winetrain.com/events/santa-train/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>50th Anniversary of the Occupation of Alcatraz\u003c/strong>: It’s the anniversary of an important event in Bay Area history this month: the Native American occupation of Alcatraz in 1969. For 19 months, 89 American Indians and supporters took up residence on Alcatraz to protest the treatment of indigenous peoples by the U.S. government. Many of the original occupants are still alive, and next week, some of them will get together to tell their stories of organizing and living on the island. That includes adults from three different tribes, as well as two participants who were children on the island in 1969. That’s on Tuesday, Nov. 19, at the main branch of the public library in San Francisco. \u003ca href=\"https://sfpl.org/?pg=1038012501\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco Public Library Eliminates All Overdue Fines",
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"content": "\u003cp>Readers, rejoice! Starting today, the San Francisco Public Library has \u003ca href=\"https://sfpl.org/index.php?pg=2001163901\" target=\"_blank\" rel=\"noopener\">eliminated overdue fines\u003c/a> for all library patrons.\u003c/p>\n\u003cp>If you have existing overdue fines (guilty as charged), these are now cleared. And moving forward, any overdue materials eligible for renewal will be automatically renewed for you (up to three times, per library policy).\u003c/p>\n\u003cp>According to the SFPL’s announcement, “the fine free movement has taken on momentum \u003ca href=\"https://www.urbanlibraries.org/member-resources/fine-free-map\" target=\"_blank\" rel=\"noopener\">across the nation\u003c/a>.” Berkeley Public Library and San Diego Public Library eliminated overdue fines for all patrons in 2018, and Contra Costa County Library, San Mateo County Library and Marin County Library followed suit earlier this year. The SFPL is actually expanding on an existing policy, adopted in 1974, that eliminated fines for children and teen accounts.\u003c/p>\n\u003cp>\u003ca href=\"https://sfpl.org/uploads/files/pdfs/commission/Fine-Free-Report011719.pdf\" target=\"_blank\" rel=\"noopener\">A study\u003c/a> undertaken by the SFPL and the San Francisco Financial Justice Project of the Treasurer’s Office, published in January 2019, found that “overdue fines restrict access and exacerbate inequality by disproportionately affecting low-income and racial-minority communities, create conflict between patrons and the library, require an inefficient use of staff time, and do not consistently ensure borrowed materials end up back on library shelves.”\u003c/p>\n\u003cp>In short, overdue fines hindered the library’s ability to serve those who would benefit most from it, contradicting the SFPL’s mission of providing its patrons free and equal access to information.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Studying their own numbers and fine elimination programs at nine other libraries across the country, the SFPL and treasurer’s office determined that “removing overdue fines from the SFPL would generate benefits at all levels of the library ecosystem.”\u003c/p>\n\u003cp>Previously, overdue items accrued fines of $0.10 a day, maxing out at $5 for a single item. At 60 days past due, the items entered “billed status” (essentially, pay for the replacement of this item or find a suitable replacement yourself). The library blocked accounts with a billed item and those owing $10 or more.\u003c/p>\n\u003cp>Anecdotal evidence within the report shows overdue fines created negative relationships between the library and its patrons. “When I owe money to the library, I do not feel comfortable using the resources of the library,” said one Park Branch patron. “It creates a sense of un-belonging.”\u003c/p>\n\u003cp>For those fretting over lost income: In the 2017–2018 fiscal year, overdue fine collections amounted to just 0.2 percent of the SFPL’s total operating budget. In contrast, library employees spend 1,155–3,464 hours a year collecting fines, which adds up to $64,000–$191,000 in staff capacity. That’s time and money, the SFPL reasons, that could be better spent on services directly benefitting its patrons.\u003c/p>\n\u003cp>The library will still issue \u003ca href=\"https://sfpl.libanswers.com/faq/146652\" target=\"_blank\" rel=\"noopener\">billed item fees\u003c/a> for materials lost, damaged or unreturned 30 days past their due date. You can’t just borrow a book and never return it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But in the meantime, we’re all footloose and fine free.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Readers, rejoice! Starting today, the San Francisco Public Library has \u003ca href=\"https://sfpl.org/index.php?pg=2001163901\" target=\"_blank\" rel=\"noopener\">eliminated overdue fines\u003c/a> for all library patrons.\u003c/p>\n\u003cp>If you have existing overdue fines (guilty as charged), these are now cleared. And moving forward, any overdue materials eligible for renewal will be automatically renewed for you (up to three times, per library policy).\u003c/p>\n\u003cp>According to the SFPL’s announcement, “the fine free movement has taken on momentum \u003ca href=\"https://www.urbanlibraries.org/member-resources/fine-free-map\" target=\"_blank\" rel=\"noopener\">across the nation\u003c/a>.” Berkeley Public Library and San Diego Public Library eliminated overdue fines for all patrons in 2018, and Contra Costa County Library, San Mateo County Library and Marin County Library followed suit earlier this year. The SFPL is actually expanding on an existing policy, adopted in 1974, that eliminated fines for children and teen accounts.\u003c/p>\n\u003cp>\u003ca href=\"https://sfpl.org/uploads/files/pdfs/commission/Fine-Free-Report011719.pdf\" target=\"_blank\" rel=\"noopener\">A study\u003c/a> undertaken by the SFPL and the San Francisco Financial Justice Project of the Treasurer’s Office, published in January 2019, found that “overdue fines restrict access and exacerbate inequality by disproportionately affecting low-income and racial-minority communities, create conflict between patrons and the library, require an inefficient use of staff time, and do not consistently ensure borrowed materials end up back on library shelves.”\u003c/p>\n\u003cp>In short, overdue fines hindered the library’s ability to serve those who would benefit most from it, contradicting the SFPL’s mission of providing its patrons free and equal access to information.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Studying their own numbers and fine elimination programs at nine other libraries across the country, the SFPL and treasurer’s office determined that “removing overdue fines from the SFPL would generate benefits at all levels of the library ecosystem.”\u003c/p>\n\u003cp>Previously, overdue items accrued fines of $0.10 a day, maxing out at $5 for a single item. At 60 days past due, the items entered “billed status” (essentially, pay for the replacement of this item or find a suitable replacement yourself). The library blocked accounts with a billed item and those owing $10 or more.\u003c/p>\n\u003cp>Anecdotal evidence within the report shows overdue fines created negative relationships between the library and its patrons. “When I owe money to the library, I do not feel comfortable using the resources of the library,” said one Park Branch patron. “It creates a sense of un-belonging.”\u003c/p>\n\u003cp>For those fretting over lost income: In the 2017–2018 fiscal year, overdue fine collections amounted to just 0.2 percent of the SFPL’s total operating budget. In contrast, library employees spend 1,155–3,464 hours a year collecting fines, which adds up to $64,000–$191,000 in staff capacity. That’s time and money, the SFPL reasons, that could be better spent on services directly benefitting its patrons.\u003c/p>\n\u003cp>The library will still issue \u003ca href=\"https://sfpl.libanswers.com/faq/146652\" target=\"_blank\" rel=\"noopener\">billed item fees\u003c/a> for materials lost, damaged or unreturned 30 days past their due date. You can’t just borrow a book and never return it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But in the meantime, we’re all footloose and fine free.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "On the Air: Cy and Tomás' Do List Picks for March 23, 2018",
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"content": "\u003cp>Our favorite arts administrator Tomás Riley (formerly with CounterPulse) is back as co-host, and the show is music heavy (a good thing), with electro-pop from Emily Afton, a new song cycle about being black in America by Lawrence Brownlee, and the ugly pop of Skating Polly. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>March 23 and 24: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827711/diana-gameros-gentle-songs-of-protest\" target=\"_blank\" rel=\"noopener\">Emily Afton’s wary but positive songs deserve a wider audience\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 23:\u003c/strong> \u003ca href=\"https://bampfa.org/event/fanny-and-alexander-4\" target=\"_blank\" rel=\"noopener\">Ingmar Bergman’s warmest film, \u003cem>Fanny and Alexander,\u003c/em> plays at the Pacific Film Archive in Berkeley\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 27:\u003c/strong> \u003ca href=\"https://sfpl.org/index.php?pg=1027497701\" target=\"_blank\" rel=\"noopener\">The San Francisco Public Library screens \u003cem>Ferlinghetti – A Rebirth of Wonder\u003c/em>, Christopher Felver’s film about the founder of City Lights Books \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827700/a-black-opera-singer-broadens-the-repertory-for-art-songs\" target=\"_blank\" rel=\"noopener\">Tenor Lawrence Brownlee’s updates the classical repertory with a new song cycle about Black Lives Matter.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://proartsgallery.org/event/affirmative-action/\" target=\"_blank\" rel=\"noopener\">The Living Earth Show presents \u003cem>Affirmative Action\u003c/em> a \u003c/a>\u003ca href=\"https://proartsgallery.org/event/affirmative-action/\" target=\"_blank\" rel=\"noopener\">concert by five composers of color\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 15-July 8:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827570/celebrating-rube-goldbergs-dada-like-cartoon-inventions\" target=\"_blank\" rel=\"noopener\">An exhibition celebrates Rube Goldberg’s slapstick inventions and serious editorial cartoons\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 24 and May 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827711/diana-gameros-gentle-songs-of-protest\" target=\"_blank\" rel=\"noopener\">Diana Gameros makes traditional songs fresh again\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 27: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827721/skating-pollys-family-friendly-grunge\" target=\"_blank\" rel=\"noopener\">Skating Polly makes ugly pop that is so beautiful\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 29-April 1: \u003c/strong>\u003ca href=\"http://www.zspace.org/birthdaylottery\" target=\"_blank\" rel=\"noopener\">Richard Fouts play about how the Vietnam era draft changed the lives of a generation \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 14:\u003c/strong> \u003ca href=\"http://youthspeaks.org/youth-speaks-teen-poetry-slam/\" target=\"_blank\" rel=\"noopener\">The Teen Poetry Slam returns to Youth Speaks\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13812638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812638\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1920x1339.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-520x363.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tomas Riley and Cy Musiker of KQED \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Our favorite arts administrator Tomás Riley (formerly with CounterPulse) is back as co-host, and the show is music heavy (a good thing), with electro-pop from Emily Afton, a new song cycle about being black in America by Lawrence Brownlee, and the ugly pop of Skating Polly. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>March 23 and 24: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827711/diana-gameros-gentle-songs-of-protest\" target=\"_blank\" rel=\"noopener\">Emily Afton’s wary but positive songs deserve a wider audience\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 23:\u003c/strong> \u003ca href=\"https://bampfa.org/event/fanny-and-alexander-4\" target=\"_blank\" rel=\"noopener\">Ingmar Bergman’s warmest film, \u003cem>Fanny and Alexander,\u003c/em> plays at the Pacific Film Archive in Berkeley\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 27:\u003c/strong> \u003ca href=\"https://sfpl.org/index.php?pg=1027497701\" target=\"_blank\" rel=\"noopener\">The San Francisco Public Library screens \u003cem>Ferlinghetti – A Rebirth of Wonder\u003c/em>, Christopher Felver’s film about the founder of City Lights Books \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827700/a-black-opera-singer-broadens-the-repertory-for-art-songs\" target=\"_blank\" rel=\"noopener\">Tenor Lawrence Brownlee’s updates the classical repertory with a new song cycle about Black Lives Matter.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Marvel’s \u003cem>Black Panther\u003c/em> hits theaters Feb. 15, and the original comic book is experiencing a renaissance in popularity. But it’s historically been slim pickings for African American comic book fans looking for representation in those colorful panels.\u003c/span>\u003c/p>\n\u003cp>Which makes the 4th annual Black Comix Arts Festival, running Jan. 13-15, a much-needed intervention in the often racially homogeneous world of science fiction, comics and fantasy. The lineup looks dazzling, including science fiction author \u003ca href=\"http://nnedi.com/\" target=\"_blank\" rel=\"noopener\">Nnedi Okorafor\u003c/a>, tapped to write the new Black Panther series \u003cem>Long Live the King. \u003c/em>Also speaking is John Jennings, one of the illustrators, and Tony Medina, the writer, for \u003ca href=\"https://www.leeandlow.com/books/i-am-alfonso-jones\" target=\"_blank\" rel=\"noopener\">\u003cem>I Am Alfonso Jones\u003c/em>\u003c/a>\u003ci>,\u003c/i> a terrific graphic novel from Lee and Low about the Black Lives Matter movement. And look for one of my favorite Bay Area illustrators, Ajuan Mance, a Mills professor who has posted a series of online portraits called \u003ca href=\"http://8-rock.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>One Thousand and One Black Men\u003c/em>\u003c/a>. If you like cosplay, this seems a good time to try out that Luke Cage, Falcon, or Black Panther costume. Details for the Black Comix Arts Festival are \u003ca href=\"http://sfmlkday.org/bcafcon/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.ted.com/talks/nnedi_okorafor_sci_fi_stories_that_imagine_a_future_africa\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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 fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Marvel’s \u003cem>Black Panther\u003c/em> hits theaters Feb. 15, and the original comic book is experiencing a renaissance in popularity. But it’s historically been slim pickings for African American comic book fans looking for representation in those colorful panels.\u003c/span>\u003c/p>\n\u003cp>Which makes the 4th annual Black Comix Arts Festival, running Jan. 13-15, a much-needed intervention in the often racially homogeneous world of science fiction, comics and fantasy. The lineup looks dazzling, including science fiction author \u003ca href=\"http://nnedi.com/\" target=\"_blank\" rel=\"noopener\">Nnedi Okorafor\u003c/a>, tapped to write the new Black Panther series \u003cem>Long Live the King. \u003c/em>Also speaking is John Jennings, one of the illustrators, and Tony Medina, the writer, for \u003ca href=\"https://www.leeandlow.com/books/i-am-alfonso-jones\" target=\"_blank\" rel=\"noopener\">\u003cem>I Am Alfonso Jones\u003c/em>\u003c/a>\u003ci>,\u003c/i> a terrific graphic novel from Lee and Low about the Black Lives Matter movement. And look for one of my favorite Bay Area illustrators, Ajuan Mance, a Mills professor who has posted a series of online portraits called \u003ca href=\"http://8-rock.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>One Thousand and One Black Men\u003c/em>\u003c/a>. If you like cosplay, this seems a good time to try out that Luke Cage, Falcon, or Black Panther costume. Details for the Black Comix Arts Festival are \u003ca href=\"http://sfmlkday.org/bcafcon/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.ted.com/talks/nnedi_okorafor_sci_fi_stories_that_imagine_a_future_africa\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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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"order": 9
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"marketplace": {
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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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"title": "Masters of Scale",
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"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
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"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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