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"title": "Bigger Than Ever, the SF Art Book Fair Returns With Zines and Small Presses Galore",
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"content": "\u003cp>You don’t realize just how massive the Bay Area’s small-press and \u003ca href=\"https://www.kqed.org/arts/tag/zines\">zine\u003c/a> world is until you walk into the San Francisco Art Book Fair. \u003c/p>\n\u003cp>Inside, it’s shoulder-to-shoulder crowds. A steady din of excited conversation. And tables full of fascinating, eye-catching DIY publications as far as the eyes can see. \u003c/p>\n\u003cp>It’s a scene that immediately captivated \u003ca href=\"https://cargocollective.com/oceanmescalanti/About-Ocean-M-Escalanti\">Ocean Escalanti\u003c/a> when the festival launched in 2016. After working to assist other vendors at the fair, or tabling for her day job at Richmond’s NIAD Art Center, the Oakland-based zinemaker began applying to be an exhibitor herself. This year, despite the fair receiving more than 400 applications for around 130 tables, she got in. \u003c/p>\n\u003cfigure id=\"attachment_13929554\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1.jpeg\" alt=\"people browse at a book fair\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13929554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-1920x1280.jpeg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People browse at the 2019 SF Art Book Fair. \u003ccite>(Airyka Rockefeller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a way, Escalanti says, exhibiting at the SFABF is a rite of passage, and “a way to get acceptance, and own the fact that I’m an artist creating in the Bay Area.”\u003c/p>\n\u003cp>Escalanti’s zines provide a cross-section of the fair’s variety: she’ll have chapbook-sized tributes to David Bowie and Jerry Garcia alongside zines that reference ancient drawings. Her skill-share brochures on color symbolism and natural dyes are informed by her Indigenous Quechan background, and her desire to foster a personal relationship with the Bay Area’s land and its Native people after moving here from San Diego more than 10 years ago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Friday, July 11, 1–2 p.m., Escalanti leads a discussion on the importance of small publishers working in the realms of ecology, homesteading and the natural world — one of 19 breakout events throughout the weekend.\u003c/p>\n\u003cp>[aside postID='arts_13961341'] In fact, after eight years, the SF Art Book Fair has expanded beyond its original mission as a showcase for art books. In addition to book signings with decidedly non–small press publishers like Chronicle Books, the weekend’s activities include photo exhibitions, a record swap sponsored by KUSF, a reading room dedicated to Charles and Ray Eames and a screening room of short films curated by SF Cinematique. \u003ca href=\"https://www.instagram.com/p/DLyXK-3v-T3/\">There’s even a celebrity dog\u003c/a>.\u003c/p>\n\u003cp>But books and zines are still the star attraction — so much so that, in the case of Ben Kinmont and his “street activation” about the 1960s group The Diggers, they’ll even be printed and given away on-site. When I attended the fair last year, I struggled to whittle my highlights down to just \u003ca href=\"https://www.kqed.org/arts/13961341/sf-art-book-fair-zines-underground-small-press-review\">eight cool books and zines\u003c/a> on offer — although I discovered most of them in the out-of-the-way second building up the street at 1150 25th St., where more DIY and grassroots artists like Escalanti can be found.\u003c/p>\n\u003cp>My advice? Go in completely blind, work your way around the buildings, and enjoy navigating the maze of personal, niche, funny and I-didn’t-know-I-needed-this publications from the Bay Area and beyond. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The ninth annual \u003ca href=\"https://sfartbookfair.com/\">San Francisco Art Book Fair\u003c/a> is free to attend and runs Friday–Saturday, July 11–13 — with an opening night on Thursday, July 10, 6–10 p.m. — at the Minnesota Street Project (1150 25th St., 1275 Minnesota St., 1240 Minnesota St. and 1201 Minnesota St., San Francisco).\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You don’t realize just how massive the Bay Area’s small-press and \u003ca href=\"https://www.kqed.org/arts/tag/zines\">zine\u003c/a> world is until you walk into the San Francisco Art Book Fair. \u003c/p>\n\u003cp>Inside, it’s shoulder-to-shoulder crowds. A steady din of excited conversation. And tables full of fascinating, eye-catching DIY publications as far as the eyes can see. \u003c/p>\n\u003cp>It’s a scene that immediately captivated \u003ca href=\"https://cargocollective.com/oceanmescalanti/About-Ocean-M-Escalanti\">Ocean Escalanti\u003c/a> when the festival launched in 2016. After working to assist other vendors at the fair, or tabling for her day job at Richmond’s NIAD Art Center, the Oakland-based zinemaker began applying to be an exhibitor herself. This year, despite the fair receiving more than 400 applications for around 130 tables, she got in. \u003c/p>\n\u003cfigure id=\"attachment_13929554\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1.jpeg\" alt=\"people browse at a book fair\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13929554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFABF2019_photoAirykaRockefeller-200-1-1920x1280.jpeg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People browse at the 2019 SF Art Book Fair. \u003ccite>(Airyka Rockefeller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a way, Escalanti says, exhibiting at the SFABF is a rite of passage, and “a way to get acceptance, and own the fact that I’m an artist creating in the Bay Area.”\u003c/p>\n\u003cp>Escalanti’s zines provide a cross-section of the fair’s variety: she’ll have chapbook-sized tributes to David Bowie and Jerry Garcia alongside zines that reference ancient drawings. Her skill-share brochures on color symbolism and natural dyes are informed by her Indigenous Quechan background, and her desire to foster a personal relationship with the Bay Area’s land and its Native people after moving here from San Diego more than 10 years ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Friday, July 11, 1–2 p.m., Escalanti leads a discussion on the importance of small publishers working in the realms of ecology, homesteading and the natural world — one of 19 breakout events throughout the weekend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> In fact, after eight years, the SF Art Book Fair has expanded beyond its original mission as a showcase for art books. In addition to book signings with decidedly non–small press publishers like Chronicle Books, the weekend’s activities include photo exhibitions, a record swap sponsored by KUSF, a reading room dedicated to Charles and Ray Eames and a screening room of short films curated by SF Cinematique. \u003ca href=\"https://www.instagram.com/p/DLyXK-3v-T3/\">There’s even a celebrity dog\u003c/a>.\u003c/p>\n\u003cp>But books and zines are still the star attraction — so much so that, in the case of Ben Kinmont and his “street activation” about the 1960s group The Diggers, they’ll even be printed and given away on-site. When I attended the fair last year, I struggled to whittle my highlights down to just \u003ca href=\"https://www.kqed.org/arts/13961341/sf-art-book-fair-zines-underground-small-press-review\">eight cool books and zines\u003c/a> on offer — although I discovered most of them in the out-of-the-way second building up the street at 1150 25th St., where more DIY and grassroots artists like Escalanti can be found.\u003c/p>\n\u003cp>My advice? Go in completely blind, work your way around the buildings, and enjoy navigating the maze of personal, niche, funny and I-didn’t-know-I-needed-this publications from the Bay Area and beyond. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The ninth annual \u003ca href=\"https://sfartbookfair.com/\">San Francisco Art Book Fair\u003c/a> is free to attend and runs Friday–Saturday, July 11–13 — with an opening night on Thursday, July 10, 6–10 p.m. — at the Minnesota Street Project (1150 25th St., 1275 Minnesota St., 1240 Minnesota St. and 1201 Minnesota St., San Francisco).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13974668\" class=\"wp-caption aligncenter\" style=\"max-width: 1457px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974668\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/L-Lindell.png\" alt=\"A yellow book cover featuring an illustration of a man wearing glasses with his arms raised in despair, full of knots.\" width=\"1457\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/L-Lindell.png 1457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/L-Lindell-800x1098.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/L-Lindell-1020x1400.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/L-Lindell-160x220.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/L-Lindell-768x1054.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/L-Lindell-1119x1536.png 1119w\" sizes=\"auto, (max-width: 1457px) 100vw, 1457px\">\u003cfigcaption class=\"wp-caption-text\">‘We All Got Something’ by Lawrence Lindell. \u003ccite>(Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At first glance, Lawrence Lindell’s new graphic novel \u003cem>We All Got Something\u003c/em> is about \u003ca href=\"https://www.kqed.org/news/tag/mental-health\">mental health\u003c/a>, trauma and feeling perpetually misunderstood.\u003c/p>\n\u003cp>[aside postid='arts_13972135']By the end of the book’s 170 pages, however, you realize this is ultimately a story about grace. The importance of offering grace to those around us, even when they don’t always deserve it. Giving grace to ourselves when we’re in the process of healing. And the deep and lasting difference grace can make when we’re on the receiving end of it.\u003c/p>\n\u003cp>\u003cem>We All Got Something\u003c/em> walks us through Lindell’s recovery process after a series of terrible events befell him: a painful breakup, a random act of violence, a failed attempt to relocate overseas. The story begins with his struggle to get back in step with his old life in Compton — with his art, his music, his family and his own mind.\u003c/p>\n\u003cp>At times, Lindell’s sense of isolation is so palpable, the pages with zero dialogue feel louder and more claustrophobic than those with words.\u003c/p>\n\u003cfigure id=\"attachment_13974671\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974671\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/brotha-lawrence-scaled-e1744762432528.jpg\" alt=\"Black and white comic book panels convey a young man's embarassment at being called on in church by his pastor, while the congregation watches on.\" width=\"1920\" height=\"1188\">\u003cfigcaption class=\"wp-caption-text\">A moment of creeping self-consciousness in ‘We All Got Something’ by Lawrence Lindell. \u003ccite>(Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this, Lindell’s second graphic novel for Canadian comic company \u003ca href=\"https://drawnandquarterly.com/\">Drawn & Quarterly\u003c/a>, the now–San Francisco-based cartoonist has crafted a story that consistently succeeds in stirring big emotions. Heartbreak, giddiness, despair and hope all leap off the page, despite the book’s black-and-white format and casual illustration style. In Lindell’s hands, even the simplest of illustrated text exchanges can convey a gut punch. That’s a testament to how effectively he imbues his work with vulnerability and honesty — even when doing so doesn’t present himself in the most flattering light.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>We All Got Something\u003c/em> is relatable for any artist who has ever questioned their creative path, any creator under pressure to quit, and any misfit who’s struggled to find their place in the world. San Francisco doesn’t appear until three-quarters of the way through, but once it’s there — specifically at \u003ca href=\"https://www.kqed.org/arts/13921425/bay-area-queer-zine-fest-comics-diy-2022\">SF Zine Fest\u003c/a> — we see Lindell turn a corner and find his light again. When the title of the book finally shows up in the text, butterflies are all but inevitable.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://drawnandquarterly.com/books/we-all-got-something/\">‘We All Got Something’ by Lawrence Lindell\u003c/a> is out April 29, 2025, via Drawn & Quarterly.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>By the end of the book’s 170 pages, however, you realize this is ultimately a story about grace. The importance of offering grace to those around us, even when they don’t always deserve it. Giving grace to ourselves when we’re in the process of healing. And the deep and lasting difference grace can make when we’re on the receiving end of it.\u003c/p>\n\u003cp>\u003cem>We All Got Something\u003c/em> walks us through Lindell’s recovery process after a series of terrible events befell him: a painful breakup, a random act of violence, a failed attempt to relocate overseas. The story begins with his struggle to get back in step with his old life in Compton — with his art, his music, his family and his own mind.\u003c/p>\n\u003cp>At times, Lindell’s sense of isolation is so palpable, the pages with zero dialogue feel louder and more claustrophobic than those with words.\u003c/p>\n\u003cfigure id=\"attachment_13974671\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974671\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/brotha-lawrence-scaled-e1744762432528.jpg\" alt=\"Black and white comic book panels convey a young man's embarassment at being called on in church by his pastor, while the congregation watches on.\" width=\"1920\" height=\"1188\">\u003cfigcaption class=\"wp-caption-text\">A moment of creeping self-consciousness in ‘We All Got Something’ by Lawrence Lindell. \u003ccite>(Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this, Lindell’s second graphic novel for Canadian comic company \u003ca href=\"https://drawnandquarterly.com/\">Drawn & Quarterly\u003c/a>, the now–San Francisco-based cartoonist has crafted a story that consistently succeeds in stirring big emotions. Heartbreak, giddiness, despair and hope all leap off the page, despite the book’s black-and-white format and casual illustration style. In Lindell’s hands, even the simplest of illustrated text exchanges can convey a gut punch. That’s a testament to how effectively he imbues his work with vulnerability and honesty — even when doing so doesn’t present himself in the most flattering light.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>There are only a handful of punk logos that have stood the test of time, and they’re almost universally recognized: \u003ca href=\"https://www.kqed.org/arts/13962592/raymond-pettibon-auction-black-flag-fliers-punk-rock-ephemera-fab-mab-on-broadway\">Black Flag\u003c/a>‘s bars, Misfits’ Crimson Ghost and Crass’ anti-authority cross.\u003c/p>\n\u003cp>[aside postid='arts_13967093']The last was designed by \u003ca href=\"https://www.kqed.org/arts/13868611/david-king-san-francisco-artist-who-designed-iconic-crass-emblem-dies-at-71\">David King\u003c/a>, a British experimental artist, graphic designer and musician. He moved from England to New York City in 1977, before relocating to San Francisco three years later. Here, he made art and zines, performed in bands (including \u003ca href=\"https://www.discogs.com/master/673023-Brain-Rust-Brain-Rust\">Brain Rust\u003c/a>) and attended the \u003ca href=\"https://www.kqed.org/arts/tag/sfai\">San Francisco Art Institute\u003c/a>. King died in 2019 at the age of 71, but left a wealth of subversive, era-defining work behind him.\u003c/p>\n\u003cp>A selection of that work is currently on display at the San Francisco Center for the Book. \u003cem>David King Publications 1977-2019\u003c/em> focuses on the artist’s zine work and, to a lesser degree, his show flyers. King’s work, as curated by Luca Antonucci and Matt Borruso, is consistently imposing, provocative and caustically humorous. Many of his designs also clearly reflect the moment each piece was made. His 1980s work, in particular, makes a mockery of the leaders of the day, including Margaret Thatcher, Ronald Reagan and Queen Elizabeth II. (One doctored image of the Queen kicking a baby into a manhole is as funny as it is jarring.)\u003c/p>\n\u003cfigure id=\"attachment_13967299\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png\" alt=\"Two black and white pages. One featuring a bat signal with the Crass band logo. The other features Batman and Robin looking at a chart of symbols.\" width=\"2000\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1536x983.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1920x1229.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The first issue of ‘Sleeping Dogs’ zine, 1983. \u003ccite>(Courtesy of San Francisco Center for the Book)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is, of course, a Crass component within the exhibit. Original stencils hang starkly in frames. One comic book-style panel has the band logo projected into the night sky, like the Bat Signal. Sitting tantalizingly in a display case is even a copy of \u003cem>Christ’s Reality Asylum\u003c/em>, the 1977 pamphlet written by Crass drummer Penny Rimbaud that inspired the very first use of the now-legendary anti-authority symbol.\u003c/p>\n\u003cp>[aside postid='arts_13938024']Other ephemera from King’s life includes home photos (of himself, Crass singer Steve Ignorant and a series of masked figures) and book covers designed by the artist, including the sci-fi paperback \u003ca href=\"https://en.wikipedia.org/wiki/Non-Stop_(novel)\">\u003cem>Non-Stop\u003c/em> by Brian Aldiss\u003c/a>. There are a couple of curious collages too — one now-ironic piece titled \u003cem>21st Century Lower Manhattan\u003c/em>, depicts the New York skyline awash with World Trade Center towers. (A demonstration that even the sharpest social critics can’t predict \u003cem>everything\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>King was prolific to a point that only the hugest of exhibitions could ever capture the breadth of what he created in his lifetime. \u003cem>David King Publications 1977-2019\u003c/em> can only act as a sort of tasting menu — but oh, what a delicious introduction it is.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfcb.org/davidanthonyking\">David King Publications 1977-2019\u003c/a>’ is on display now through Dec. 22, 2024 at \u003ca href=\"https://sfcb.org/\">San Francisco Center for the Book\u003c/a> (375 Rhode Island St.). \u003c/em>\u003c/p>\n\u003cp>\u003cem>An accompanying book, ‘David King Publications 1977–2019’ will be available in November via \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> and San Francisco Center for the Book.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>On Dec. 6, San Francisco Center for the Book will host a roundtable discussion with curators Luca Antonucci and Matt Borruso in conversation with David Senior, SF MoMA’s Director of the Library.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are only a handful of punk logos that have stood the test of time, and they’re almost universally recognized: \u003ca href=\"https://www.kqed.org/arts/13962592/raymond-pettibon-auction-black-flag-fliers-punk-rock-ephemera-fab-mab-on-broadway\">Black Flag\u003c/a>‘s bars, Misfits’ Crimson Ghost and Crass’ anti-authority cross.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The last was designed by \u003ca href=\"https://www.kqed.org/arts/13868611/david-king-san-francisco-artist-who-designed-iconic-crass-emblem-dies-at-71\">David King\u003c/a>, a British experimental artist, graphic designer and musician. He moved from England to New York City in 1977, before relocating to San Francisco three years later. Here, he made art and zines, performed in bands (including \u003ca href=\"https://www.discogs.com/master/673023-Brain-Rust-Brain-Rust\">Brain Rust\u003c/a>) and attended the \u003ca href=\"https://www.kqed.org/arts/tag/sfai\">San Francisco Art Institute\u003c/a>. King died in 2019 at the age of 71, but left a wealth of subversive, era-defining work behind him.\u003c/p>\n\u003cp>A selection of that work is currently on display at the San Francisco Center for the Book. \u003cem>David King Publications 1977-2019\u003c/em> focuses on the artist’s zine work and, to a lesser degree, his show flyers. King’s work, as curated by Luca Antonucci and Matt Borruso, is consistently imposing, provocative and caustically humorous. Many of his designs also clearly reflect the moment each piece was made. His 1980s work, in particular, makes a mockery of the leaders of the day, including Margaret Thatcher, Ronald Reagan and Queen Elizabeth II. (One doctored image of the Queen kicking a baby into a manhole is as funny as it is jarring.)\u003c/p>\n\u003cfigure id=\"attachment_13967299\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png\" alt=\"Two black and white pages. One featuring a bat signal with the Crass band logo. The other features Batman and Robin looking at a chart of symbols.\" width=\"2000\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1536x983.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1920x1229.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The first issue of ‘Sleeping Dogs’ zine, 1983. \u003ccite>(Courtesy of San Francisco Center for the Book)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is, of course, a Crass component within the exhibit. Original stencils hang starkly in frames. One comic book-style panel has the band logo projected into the night sky, like the Bat Signal. Sitting tantalizingly in a display case is even a copy of \u003cem>Christ’s Reality Asylum\u003c/em>, the 1977 pamphlet written by Crass drummer Penny Rimbaud that inspired the very first use of the now-legendary anti-authority symbol.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other ephemera from King’s life includes home photos (of himself, Crass singer Steve Ignorant and a series of masked figures) and book covers designed by the artist, including the sci-fi paperback \u003ca href=\"https://en.wikipedia.org/wiki/Non-Stop_(novel)\">\u003cem>Non-Stop\u003c/em> by Brian Aldiss\u003c/a>. There are a couple of curious collages too — one now-ironic piece titled \u003cem>21st Century Lower Manhattan\u003c/em>, depicts the New York skyline awash with World Trade Center towers. (A demonstration that even the sharpest social critics can’t predict \u003cem>everything\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>King was prolific to a point that only the hugest of exhibitions could ever capture the breadth of what he created in his lifetime. \u003cem>David King Publications 1977-2019\u003c/em> can only act as a sort of tasting menu — but oh, what a delicious introduction it is.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfcb.org/davidanthonyking\">David King Publications 1977-2019\u003c/a>’ is on display now through Dec. 22, 2024 at \u003ca href=\"https://sfcb.org/\">San Francisco Center for the Book\u003c/a> (375 Rhode Island St.). \u003c/em>\u003c/p>\n\u003cp>\u003cem>An accompanying book, ‘David King Publications 1977–2019’ will be available in November via \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> and San Francisco Center for the Book.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>On Dec. 6, San Francisco Center for the Book will host a roundtable discussion with curators Luca Antonucci and Matt Borruso in conversation with David Senior, SF MoMA’s Director of the Library.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Giant Robot’ Is a Pop Culture Tome That’ll Take You Back to a Pre-Internet Age",
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"content": "\u003cp>Roving through the back of my magazine collection recently, I found a much-treasured copy of the second issue of short-lived Beastie Boys fanzine, \u003cem>Grand Royal\u003c/em>. It dates to 1995. I remember excitedly buying it in an X-Large store in New York City and poring over every single page. Looking at it in 2024 however, took me aback. That zine now stands as a screaming monument to how much longer our attention spans were before the internet lived in our pockets.\u003c/p>\n\u003cp>I mention this because opening \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> for the first time gave me a similar sensation. The new hardcover collection of \u003cem>Giant Robot\u003c/em> magazine’s highlights from the last three decades might look like a coffee table book on the outside, but on the inside, it’s a reflection of how we used to read. Page after page of densely packed text with minimal images to break up a font that often feels unreasonably small for pages of this size. (It all makes sense: \u003cem>Giant Robot\u003c/em> did, after all, start life in 1994 as a fanzine.)\u003c/p>\n\u003cp>[aside postid='arts_13966153']Facing down \u003cem>Giant Robot\u003c/em>’s nearly 500 pages for the first time would be an intimidating exercise if not for the thoughtfulness of the book’s editors. Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin clearly anticipated the attention span challenge and adapted accordingly. As such, the content here is split into color-coded categories — identity, cinema, comics and manga, music, travel, food, fashion, sports, toys, and art — thereby making it easy to locate your passion of choice and dive in with intention.\u003c/p>\n\u003cp>The cinema section contains the most recognizable names in the book, thanks to interviews with the likes of Chow Yun-Fat, \u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915798/in-thor-love-and-thunder-waititis-familiar-strains-feel-familiar-and-strained\">Taika Waititi\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955458/dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood\">Dev Patel\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13750397/now-playing-johnnie-tos-crime-wave\">John Woo\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915702/mr-malcolms-list-susan-allain-regency-romance-london\">Freida Pinto\u003c/a>, \u003ca href=\"https://www.kqed.org/news/tag/george-takei\">George Takei\u003c/a> and \u003cem>Spirited Away\u003c/em> legend \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">Hayao Miyazaki\u003c/a>. My personal favorite, however, is a Q&A with \u003ca href=\"https://www.npr.org/sections/codeswitch/2015/02/06/384307677/whats-so-cringe-worthy-about-long-duk-dong-in-sixteen-candles\">Gedde Watanabe\u003c/a> (who played Long Duk Dong in \u003cem>Sixteen Candles\u003c/em>), in which he bluntly shares his feelings about the \u003ca href=\"https://www.kqed.org/arts/11815363/seoul-searching-transplants-80s-teen-movies-to-summer-camp-in-south-korea\">problematic character\u003c/a> he’s most famous for.\u003c/p>\n\u003cp>The music section sees stars like Yeah Yeah Yeahs and Money Mark rubbing shoulders with more obscure artists. The 2007 remembrance here of Lance Hahn — San Francisco punk rock treasure, J Church vocalist and former \u003cem>Giant Robot\u003c/em> contributor — almost knocked me down with a wave of bittersweet nostalgia. (The story also includes Bay Area folks from \u003ca href=\"https://www.kqed.org/arts/13804539/jawbreaker-plays-first-show-in-21-years-video-photos-setlist\">Jawbreaker\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/11782160/the-five-weirdest-records-i-ever-bought-at-aquarius-records-r-i-p\">Aquarius Records\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">Fat Wreck Chords\u003c/a> sharing quotes about Hahn’s life.)\u003c/p>\n\u003cfigure id=\"attachment_13966425\" class=\"wp-caption aligncenter\" style=\"max-width: 1498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png\" alt=\"The page of a magazine headlined 'The OG of American Chinatowns.’\" width=\"1498\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1020x1362.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1150x1536.png 1150w\" sizes=\"(max-width: 1498px) 100vw, 1498px\">\u003cfigcaption class=\"wp-caption-text\">A 1998 story about the history of San Francisco’s Chinatown, as seen in ‘Giant Robot: Thirty Years of Defining Asian American Pop Culture.’ \u003ccite>(Robot Factory Incorporated/Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hahn profile is just one of the ways \u003cem>Giant Robot\u003c/em> reflects Bay Area culture, despite having always been based in Los Angeles. \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">San Francisco’s Chinatown\u003c/a> garners an article titled “The OG of American Chinatowns,” complete with an entire profile of Mr. Bing’s dive bar. There is a recollection of the student-led \u003ca href=\"https://www.youtube.com/watch?v=As_P3DueKrY\">San Francisco State University strike of 1968\u003c/a>. UC Berkeley radicals Richard Aoki, Harvey Dong, Steve Louie and Vicci Wong are also interviewed about historical Bay Area activism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So too are there Bay Area figures peppered throughout. \u003ca href=\"https://www.kqed.org/pop/20739/hollywood-so-white-margaret-cho-other-bay-area-locals-on-the-epidemic-of-invisibility\">Margaret Cho\u003c/a> contributes a particularly hilarious 1996 column titled “White Guys That Like Asian Girls.“ (Quote: “Andrew McCarthy is everything Asian girls like about white guys. Quietly handsome, not overly masculine, sweaty-palmed, neatly dressed in blues and grays and, when we want, really good at looking bewildered.”)\u003c/p>\n\u003cp>[aside postid='arts_13965937']Then there’s the food section: so gloriously anarchic, it almost defies description. Just know that it includes a defense of MSG, a guide to Asian liquor, recipes that the Filipino inmates at L.A. County Jail made after hours in 2002, and a 1995 article about something called the “Cambodian Doughnut Cartel.”\u003c/p>\n\u003cp>So, yes. Do not let the enormity of \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> turn you off. Having this portable collection of \u003cem>Giant Robot\u003c/em>’s back catalog isn’t just a treat, it also reflects how print media has changed and evolved during the age of the internet. (Unsurprisingly, those pages crammed with text dissipate as the years pass.) Even more importantly, this collection stands as an indispensable documentation of Asian American contributions to the culture, both mainstream and underground, over a very long period of time.\u003c/p>\n\u003cp>Best of all? It’s so entertaining, it’ll make you want to read like it’s still the ’90s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.giantrobot.com/collections/giant-robot-magazine/products/preorder-giant-robot-thirty-years-of-defining-asian-american-pop-culture-hardcover-signed\">Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/a>’ edited by Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin is out on Oct. 21, 2024, from \u003ca href=\"https://drawnandquarterly.com/books/giant-robot-thirty-years-of-defining-asian-american-pop-culture/\">Drawn & Quarterly\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eric Nakamura will be at San Francisco’s \u003ca href=\"https://www.silversprocket.net/events/in-store-events-at-1018-valencia-st/\">Silver Sprocket\u003c/a> (1018 Valencia St.) for a booksigning on Oct. 26, 2024. He’ll also be in conversation with illustrator Felicia Chiao, artist Windy Chien and Jawbreaker drummer Adam Pfahler.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Roving through the back of my magazine collection recently, I found a much-treasured copy of the second issue of short-lived Beastie Boys fanzine, \u003cem>Grand Royal\u003c/em>. It dates to 1995. I remember excitedly buying it in an X-Large store in New York City and poring over every single page. Looking at it in 2024 however, took me aback. That zine now stands as a screaming monument to how much longer our attention spans were before the internet lived in our pockets.\u003c/p>\n\u003cp>I mention this because opening \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> for the first time gave me a similar sensation. The new hardcover collection of \u003cem>Giant Robot\u003c/em> magazine’s highlights from the last three decades might look like a coffee table book on the outside, but on the inside, it’s a reflection of how we used to read. Page after page of densely packed text with minimal images to break up a font that often feels unreasonably small for pages of this size. (It all makes sense: \u003cem>Giant Robot\u003c/em> did, after all, start life in 1994 as a fanzine.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Facing down \u003cem>Giant Robot\u003c/em>’s nearly 500 pages for the first time would be an intimidating exercise if not for the thoughtfulness of the book’s editors. Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin clearly anticipated the attention span challenge and adapted accordingly. As such, the content here is split into color-coded categories — identity, cinema, comics and manga, music, travel, food, fashion, sports, toys, and art — thereby making it easy to locate your passion of choice and dive in with intention.\u003c/p>\n\u003cp>The cinema section contains the most recognizable names in the book, thanks to interviews with the likes of Chow Yun-Fat, \u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915798/in-thor-love-and-thunder-waititis-familiar-strains-feel-familiar-and-strained\">Taika Waititi\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955458/dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood\">Dev Patel\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13750397/now-playing-johnnie-tos-crime-wave\">John Woo\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915702/mr-malcolms-list-susan-allain-regency-romance-london\">Freida Pinto\u003c/a>, \u003ca href=\"https://www.kqed.org/news/tag/george-takei\">George Takei\u003c/a> and \u003cem>Spirited Away\u003c/em> legend \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">Hayao Miyazaki\u003c/a>. My personal favorite, however, is a Q&A with \u003ca href=\"https://www.npr.org/sections/codeswitch/2015/02/06/384307677/whats-so-cringe-worthy-about-long-duk-dong-in-sixteen-candles\">Gedde Watanabe\u003c/a> (who played Long Duk Dong in \u003cem>Sixteen Candles\u003c/em>), in which he bluntly shares his feelings about the \u003ca href=\"https://www.kqed.org/arts/11815363/seoul-searching-transplants-80s-teen-movies-to-summer-camp-in-south-korea\">problematic character\u003c/a> he’s most famous for.\u003c/p>\n\u003cp>The music section sees stars like Yeah Yeah Yeahs and Money Mark rubbing shoulders with more obscure artists. The 2007 remembrance here of Lance Hahn — San Francisco punk rock treasure, J Church vocalist and former \u003cem>Giant Robot\u003c/em> contributor — almost knocked me down with a wave of bittersweet nostalgia. (The story also includes Bay Area folks from \u003ca href=\"https://www.kqed.org/arts/13804539/jawbreaker-plays-first-show-in-21-years-video-photos-setlist\">Jawbreaker\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/11782160/the-five-weirdest-records-i-ever-bought-at-aquarius-records-r-i-p\">Aquarius Records\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">Fat Wreck Chords\u003c/a> sharing quotes about Hahn’s life.)\u003c/p>\n\u003cfigure id=\"attachment_13966425\" class=\"wp-caption aligncenter\" style=\"max-width: 1498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png\" alt=\"The page of a magazine headlined 'The OG of American Chinatowns.’\" width=\"1498\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1020x1362.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1150x1536.png 1150w\" sizes=\"(max-width: 1498px) 100vw, 1498px\">\u003cfigcaption class=\"wp-caption-text\">A 1998 story about the history of San Francisco’s Chinatown, as seen in ‘Giant Robot: Thirty Years of Defining Asian American Pop Culture.’ \u003ccite>(Robot Factory Incorporated/Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hahn profile is just one of the ways \u003cem>Giant Robot\u003c/em> reflects Bay Area culture, despite having always been based in Los Angeles. \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">San Francisco’s Chinatown\u003c/a> garners an article titled “The OG of American Chinatowns,” complete with an entire profile of Mr. Bing’s dive bar. There is a recollection of the student-led \u003ca href=\"https://www.youtube.com/watch?v=As_P3DueKrY\">San Francisco State University strike of 1968\u003c/a>. UC Berkeley radicals Richard Aoki, Harvey Dong, Steve Louie and Vicci Wong are also interviewed about historical Bay Area activism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So too are there Bay Area figures peppered throughout. \u003ca href=\"https://www.kqed.org/pop/20739/hollywood-so-white-margaret-cho-other-bay-area-locals-on-the-epidemic-of-invisibility\">Margaret Cho\u003c/a> contributes a particularly hilarious 1996 column titled “White Guys That Like Asian Girls.“ (Quote: “Andrew McCarthy is everything Asian girls like about white guys. Quietly handsome, not overly masculine, sweaty-palmed, neatly dressed in blues and grays and, when we want, really good at looking bewildered.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then there’s the food section: so gloriously anarchic, it almost defies description. Just know that it includes a defense of MSG, a guide to Asian liquor, recipes that the Filipino inmates at L.A. County Jail made after hours in 2002, and a 1995 article about something called the “Cambodian Doughnut Cartel.”\u003c/p>\n\u003cp>So, yes. Do not let the enormity of \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> turn you off. Having this portable collection of \u003cem>Giant Robot\u003c/em>’s back catalog isn’t just a treat, it also reflects how print media has changed and evolved during the age of the internet. (Unsurprisingly, those pages crammed with text dissipate as the years pass.) Even more importantly, this collection stands as an indispensable documentation of Asian American contributions to the culture, both mainstream and underground, over a very long period of time.\u003c/p>\n\u003cp>Best of all? It’s so entertaining, it’ll make you want to read like it’s still the ’90s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.giantrobot.com/collections/giant-robot-magazine/products/preorder-giant-robot-thirty-years-of-defining-asian-american-pop-culture-hardcover-signed\">Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/a>’ edited by Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin is out on Oct. 21, 2024, from \u003ca href=\"https://drawnandquarterly.com/books/giant-robot-thirty-years-of-defining-asian-american-pop-culture/\">Drawn & Quarterly\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eric Nakamura will be at San Francisco’s \u003ca href=\"https://www.silversprocket.net/events/in-store-events-at-1018-valencia-st/\">Silver Sprocket\u003c/a> (1018 Valencia St.) for a booksigning on Oct. 26, 2024. He’ll also be in conversation with illustrator Felicia Chiao, artist Windy Chien and Jawbreaker drummer Adam Pfahler.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "8 of the Coolest Things We Saw at the SF Art Book Fair",
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"headTitle": "8 of the Coolest Things We Saw at the SF Art Book Fair | KQED",
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"content": "\u003cp>Books! Zines! Hordes of people! Thursday night saw the opening of the \u003ca href=\"https://sfartbookfair.com/\">SF Art Book Fair\u003c/a>, as much a delight to small-press aficionados as a nightmare for claustrophobics. I can confirm: it was shoulder-to-shoulder \u003cem>packed\u003c/em>.\u003c/p>\n\u003cp>In its seventh year, the fair held at the Minnesota Street Art Project in San Francisco’s Dogpatch district is more popular than ever, underscored by the addition of a second exhibition building (the former McEvoy Foundation for the Arts, up the street). The expansion didn’t alleviate the congestion. It did provide for plenty of exhibitors, however — a total of 145, hawking limited-run books, zines and prints of all styles and subject matter to the beanie-and-tight-jean set.\u003c/p>\n\u003cp>I spent a few hours at the fair, looking for the coolest, weirdest, most intriguing printed matter on offer. Here are eight things that caught my eye.\u003c/p>\n\u003cfigure id=\"attachment_13961365\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Mission District,’ published by StreetSalad. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Mission District’\u003c/h2>\n\u003cp>\u003cem>(StreetSalad, $40)\u003c/em>\u003c/p>\n\u003cp>In 1980, out of his shop on 23rd Street in San Francisco, comics legend \u003ca href=\"https://larryrippeeandmollyreaart.blogspot.com/2014/01/gary-arlington.html\">Gary Arlington\u003c/a> began paying neighborhood teenagers to make one-page illustrations. Eventually, he compiled them into a periodical titled \u003cem>The Mission District\u003c/em>, filled with pencil drawings and Chicano-style lettering. Now, StreetSalad’s Tron Martínez has reprinted them, along with the more scrapbook-like \u003cem>Cholo\u003c/em>, out of San José, both perfectly capturing the \u003cem>Teen Angels\u003c/em>-type aesthetic of the cholo and lowrider scenes. As for Gary’s shop, “underground comic book culture really permeated out of there,” said Martínez.\u003c/p>\n\u003cfigure id=\"attachment_13961366\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Emeryville Cool Fun Booklet,’ by Jessalyn Aaland. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Emeryville Cool Fun Booklet’\u003c/h2>\n\u003cp>\u003cem>Jessalyn Aaland (Current Editions, $15)\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2020, four years after moving to Emeryville from Oakland and in the throes of COVID lockdown, Jessalyn Aaland decided to learn more about the history of her new city. Each new rabbit hole resulted in an issue of \u003cem>Emeryville C☺☺L Fun Facts\u003c/em>, a monthly one-page newsletter covering Emeryville’s canneries, labor strikes, 1980s punk scene, public art, streetcar lines and more. With a Risograph printer at home and a pandemic yearning to return to more human ways of connecting, she stapled her insightful, chatty and often hilarious newsletters to poles all around town, adding a phone number at the bottom. \u003cem>Emeryville Cool Fun Booklet\u003c/em> compiles all nine issues, along with responses from readers who called the number. (“An older woman was like, ‘I live alone,’ and told me stories about her landlord,” Aaland said.) I brought it home and devoured it in one sitting.\u003c/p>\n\u003cfigure id=\"attachment_13961364\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Invisible,’ by Barbara Stauffacher Solomon. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Invisible’\u003c/h2>\n\u003cp>\u003cem>Barbara Stauffacher Solomon (Colpa Press, $40)\u003c/em>\u003c/p>\n\u003cp>When Colpa Press’ Luca Antonucci first met \u003ca href=\"https://www.kqed.org/arts/13957530/barbara-stauffacher-solomon-supergraphics-obituary\">supergraphics pioneer\u003c/a> Barbara Stauffacher Solomon, she was making her own books at Kinko’s in San Francisco. Now, two months after \u003ca href=\"https://www.nytimes.com/2024/05/08/arts/design/barbara-stauffacher-solomon-dead.html\">Solomon’s death at age 95\u003c/a>, he’s printed their fifth and final book together, spiral-bound in an edition of 200. Made of collages that Stauffacher Solomon cut and pasted directly to a \u003ca href=\"https://www.peopleofprint.com/exhibition/the-swiss-grid/\">Swiss Grid\u003c/a>, \u003cem>The Invisible\u003c/em> was turned in by Stauffacher Solomon just two weeks before her death in May — along with attached instructional notes, handwritten, which Antonucci opted to include. “Scanning them was super emotional,” he said, “almost as if she was talking to me from beyond the grave.”\u003c/p>\n\u003cfigure id=\"attachment_13961371\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘You’re Gonna Miss Me / For Your Love,’ by the Tymes 5. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘You’re Gonna Miss Me / For Your Love’\u003c/h2>\n\u003cp>\u003cem>(The Tymes 5 feat. Michael Jang, $16)\u003c/em>\u003c/p>\n\u003cp>Visitors to this year’s fair may notice a large wheatpaste nearby at 23rd and Tennessee, the handiwork of the dizzingly prolific \u003ca href=\"https://www.kqed.org/arts/13958762/who-is-michael-jang-documentary-michael-jacobs-sf-docfest\">Michael Jang\u003c/a>. A San Francisco photographer, street artist and subtle prankster, Jang once also… \u003cem>played in a 1960s garage band\u003c/em>?! Here’s the proof: a 7″ of The Tymes 5, for which Jang played guitar, recorded in 1965. Covering songs by the 13th Floor Elevators and the Zombies, the band is out of tune, the vocals are overblown, the tempo-challenged drums sound like cardboard boxes. It’s great! “They’ve been selling like crazy — more than we expected,” said Park Life’s Saffron Munkres. The huge wheatpasted advertisement down the street probably doesn’t hurt.\u003c/p>\n\u003cfigure id=\"attachment_13961362\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Bodega Rider,’ by Martha Naranjo Sandoval. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Bodega Rider’\u003c/h2>\n\u003cp>\u003cem>Martha Naranjo Sandoval (Matarile Ediciones, $14)\u003c/em>\u003c/p>\n\u003cp>Not everything at the SF Art Book Fair is local. Distributed by Brooklyn’s Seaton Street Press, this photo zine contains the artist’s self-portraits on coin-operated sidewalk rides outside bodegas in New York City. What captivated me were the range of emotions on Naranjo Sandoval’s face while revisiting these childhood sources of joy: excitement at seeing them, nostalgia for what they once provided, sadness at their decreasing prominence, frustration at aging out of simple pleasures. “She’s publishing for immigrants, specifically, in the diaspora,” said Seaton Street’s Lindsay Buchman, but anyone who spent 90 seconds and 50¢ on a bucking horse stationed outside a storefront will relate.\u003c/p>\n\u003cfigure id=\"attachment_13961368\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘How to Art Book Fair,’ by Paul Shortt \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘How to Art Book Fair’\u003c/h2>\n\u003cp>\u003cem>Paul Shortt (Shortt Editions, $10)\u003c/em>\u003c/p>\n\u003cp>Talk about meta! This guide to art book fairs was being sold at the art book fair by Paul Shortt, who’d woken up Thursday morning at 3:30 a.m. in Florida before flying to San Francisco. “There’s a lot of books that teach you how to make books,” he said, “and not a lot of books that teach you how to \u003cem>sell\u003c/em> books.” (He should know; he’s been to over 50 art book fairs in the past decade.) I’d assumed this zine would be a snarky troll on art book fairs, but no — it’s a practical guide to their ins and outs, drawn from Shortt’s experiences as a vendor (“I’m very clear in the book about my own failures,” he quipped), and input from other veterans of the scene. Most of the advice is uber-specific, while some is refreshingly simple, like “don’t be a jerk.”\u003c/p>\n\u003cfigure id=\"attachment_13961369\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘If You Listen, Music Will Find You: 35mm Photographs of the Bay Area Underground,’ by Ezra Gonzalez. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘If You Listen, Music Will Find You: 35mm Photographs of the Bay Area Underground’\u003c/h2>\n\u003cp>\u003cem>Ezra Gonzalez (Nematode, $30 each)\u003c/em>\u003c/p>\n\u003cp>It’s a guarantee that your older punk friends have complained that music sucks now, or that the scene is dead. To which I always say: go to more shows! Now, there’s a tangible document to rebut those beardy, complainy denim-vest dudes: under the namesake \u003ca href=\"https://www.instagram.com/nematodeworld/\">Nematode\u003c/a>, Bay Area photographer Ezra Gonzalez has published two volumes documenting the local underground music scene. Spanning 2018–2020 and 2021–2023, the photos contain a few recognizable spots (Eli’s Mile High Club, the Rickshaw Stop), but most come from shows at basements, sidewalks and house parties. “It’s been really fun since we got them,” says Matt Brownell, co-owner of \u003ca href=\"https://coneshapetop.com/\">Cone Shape Top\u003c/a> in Oakland. “People pick up the book and say ‘I was at this show!'” Here’s to more photo books documenting the Bay Area’s rich DIY punk scene. (Please do it, \u003ca href=\"https://www.instagram.com/robcoonsphotography/?hl=en\">Rob Coons\u003c/a>!)\u003c/p>\n\u003cfigure id=\"attachment_13961370\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Advertising Shits in Your Head: Strategies for Resistance,’ by Vyvian Raoul and Matt Bonner. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Advertising Shits in Your Head: Strategies for Resistance’\u003c/h2>\n\u003cp>\u003cem>Vyvian Raoul and Matt Bonner (PM Press, $15.95)\u003c/em>\u003c/p>\n\u003cp>While wandering around the Art Book Fair, it’s easy to be seduced by eye-catching book titles (\u003cem>What Is Post-Branding?\u003c/em>, \u003cem>8-Bit Porn Video Games\u003c/em>, \u003cem>Uncreative Writing\u003c/em> by Taylor Swift). Some of these clever titles deliver on their promises, while many do not. This is, in effect, a microcosm of the advertising world! So I was glad to discover that \u003cem>Advertising Shits in Your Head\u003c/em> is backed up by substance as well as humor. Along with a primer on how advertising intrudes on our daily mental lives, the book focuses on “subvertising” — the art of altering, remixing or defacing billboard and poster ads. “A lot of these things, like bus kiosks, are easy to get into. And if it looks like it belongs there, it’ll stay there for a while,” says Dan from Oakland’s PM Press. “It’s a public space! Use it for your own means!”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The SF Art Book Fair continues daily through Sunday, July 21 at the Minnesota Street Project in San Francisco. Admission is free. \u003ca href=\"https://sfartbookfair.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Books! Zines! Hordes of people! Thursday night saw the opening of the \u003ca href=\"https://sfartbookfair.com/\">SF Art Book Fair\u003c/a>, as much a delight to small-press aficionados as a nightmare for claustrophobics. I can confirm: it was shoulder-to-shoulder \u003cem>packed\u003c/em>.\u003c/p>\n\u003cp>In its seventh year, the fair held at the Minnesota Street Art Project in San Francisco’s Dogpatch district is more popular than ever, underscored by the addition of a second exhibition building (the former McEvoy Foundation for the Arts, up the street). The expansion didn’t alleviate the congestion. It did provide for plenty of exhibitors, however — a total of 145, hawking limited-run books, zines and prints of all styles and subject matter to the beanie-and-tight-jean set.\u003c/p>\n\u003cp>I spent a few hours at the fair, looking for the coolest, weirdest, most intriguing printed matter on offer. Here are eight things that caught my eye.\u003c/p>\n\u003cfigure id=\"attachment_13961365\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Mission District,’ published by StreetSalad. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Mission District’\u003c/h2>\n\u003cp>\u003cem>(StreetSalad, $40)\u003c/em>\u003c/p>\n\u003cp>In 1980, out of his shop on 23rd Street in San Francisco, comics legend \u003ca href=\"https://larryrippeeandmollyreaart.blogspot.com/2014/01/gary-arlington.html\">Gary Arlington\u003c/a> began paying neighborhood teenagers to make one-page illustrations. Eventually, he compiled them into a periodical titled \u003cem>The Mission District\u003c/em>, filled with pencil drawings and Chicano-style lettering. Now, StreetSalad’s Tron Martínez has reprinted them, along with the more scrapbook-like \u003cem>Cholo\u003c/em>, out of San José, both perfectly capturing the \u003cem>Teen Angels\u003c/em>-type aesthetic of the cholo and lowrider scenes. As for Gary’s shop, “underground comic book culture really permeated out of there,” said Martínez.\u003c/p>\n\u003cfigure id=\"attachment_13961366\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Emeryville Cool Fun Booklet,’ by Jessalyn Aaland. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Emeryville Cool Fun Booklet’\u003c/h2>\n\u003cp>\u003cem>Jessalyn Aaland (Current Editions, $15)\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2020, four years after moving to Emeryville from Oakland and in the throes of COVID lockdown, Jessalyn Aaland decided to learn more about the history of her new city. Each new rabbit hole resulted in an issue of \u003cem>Emeryville C☺☺L Fun Facts\u003c/em>, a monthly one-page newsletter covering Emeryville’s canneries, labor strikes, 1980s punk scene, public art, streetcar lines and more. With a Risograph printer at home and a pandemic yearning to return to more human ways of connecting, she stapled her insightful, chatty and often hilarious newsletters to poles all around town, adding a phone number at the bottom. \u003cem>Emeryville Cool Fun Booklet\u003c/em> compiles all nine issues, along with responses from readers who called the number. (“An older woman was like, ‘I live alone,’ and told me stories about her landlord,” Aaland said.) I brought it home and devoured it in one sitting.\u003c/p>\n\u003cfigure id=\"attachment_13961364\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Invisible,’ by Barbara Stauffacher Solomon. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Invisible’\u003c/h2>\n\u003cp>\u003cem>Barbara Stauffacher Solomon (Colpa Press, $40)\u003c/em>\u003c/p>\n\u003cp>When Colpa Press’ Luca Antonucci first met \u003ca href=\"https://www.kqed.org/arts/13957530/barbara-stauffacher-solomon-supergraphics-obituary\">supergraphics pioneer\u003c/a> Barbara Stauffacher Solomon, she was making her own books at Kinko’s in San Francisco. Now, two months after \u003ca href=\"https://www.nytimes.com/2024/05/08/arts/design/barbara-stauffacher-solomon-dead.html\">Solomon’s death at age 95\u003c/a>, he’s printed their fifth and final book together, spiral-bound in an edition of 200. Made of collages that Stauffacher Solomon cut and pasted directly to a \u003ca href=\"https://www.peopleofprint.com/exhibition/the-swiss-grid/\">Swiss Grid\u003c/a>, \u003cem>The Invisible\u003c/em> was turned in by Stauffacher Solomon just two weeks before her death in May — along with attached instructional notes, handwritten, which Antonucci opted to include. “Scanning them was super emotional,” he said, “almost as if she was talking to me from beyond the grave.”\u003c/p>\n\u003cfigure id=\"attachment_13961371\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘You’re Gonna Miss Me / For Your Love,’ by the Tymes 5. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘You’re Gonna Miss Me / For Your Love’\u003c/h2>\n\u003cp>\u003cem>(The Tymes 5 feat. Michael Jang, $16)\u003c/em>\u003c/p>\n\u003cp>Visitors to this year’s fair may notice a large wheatpaste nearby at 23rd and Tennessee, the handiwork of the dizzingly prolific \u003ca href=\"https://www.kqed.org/arts/13958762/who-is-michael-jang-documentary-michael-jacobs-sf-docfest\">Michael Jang\u003c/a>. A San Francisco photographer, street artist and subtle prankster, Jang once also… \u003cem>played in a 1960s garage band\u003c/em>?! Here’s the proof: a 7″ of The Tymes 5, for which Jang played guitar, recorded in 1965. Covering songs by the 13th Floor Elevators and the Zombies, the band is out of tune, the vocals are overblown, the tempo-challenged drums sound like cardboard boxes. It’s great! “They’ve been selling like crazy — more than we expected,” said Park Life’s Saffron Munkres. The huge wheatpasted advertisement down the street probably doesn’t hurt.\u003c/p>\n\u003cfigure id=\"attachment_13961362\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Bodega Rider,’ by Martha Naranjo Sandoval. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Bodega Rider’\u003c/h2>\n\u003cp>\u003cem>Martha Naranjo Sandoval (Matarile Ediciones, $14)\u003c/em>\u003c/p>\n\u003cp>Not everything at the SF Art Book Fair is local. Distributed by Brooklyn’s Seaton Street Press, this photo zine contains the artist’s self-portraits on coin-operated sidewalk rides outside bodegas in New York City. What captivated me were the range of emotions on Naranjo Sandoval’s face while revisiting these childhood sources of joy: excitement at seeing them, nostalgia for what they once provided, sadness at their decreasing prominence, frustration at aging out of simple pleasures. “She’s publishing for immigrants, specifically, in the diaspora,” said Seaton Street’s Lindsay Buchman, but anyone who spent 90 seconds and 50¢ on a bucking horse stationed outside a storefront will relate.\u003c/p>\n\u003cfigure id=\"attachment_13961368\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘How to Art Book Fair,’ by Paul Shortt \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘How to Art Book Fair’\u003c/h2>\n\u003cp>\u003cem>Paul Shortt (Shortt Editions, $10)\u003c/em>\u003c/p>\n\u003cp>Talk about meta! This guide to art book fairs was being sold at the art book fair by Paul Shortt, who’d woken up Thursday morning at 3:30 a.m. in Florida before flying to San Francisco. “There’s a lot of books that teach you how to make books,” he said, “and not a lot of books that teach you how to \u003cem>sell\u003c/em> books.” (He should know; he’s been to over 50 art book fairs in the past decade.) I’d assumed this zine would be a snarky troll on art book fairs, but no — it’s a practical guide to their ins and outs, drawn from Shortt’s experiences as a vendor (“I’m very clear in the book about my own failures,” he quipped), and input from other veterans of the scene. Most of the advice is uber-specific, while some is refreshingly simple, like “don’t be a jerk.”\u003c/p>\n\u003cfigure id=\"attachment_13961369\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘If You Listen, Music Will Find You: 35mm Photographs of the Bay Area Underground,’ by Ezra Gonzalez. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘If You Listen, Music Will Find You: 35mm Photographs of the Bay Area Underground’\u003c/h2>\n\u003cp>\u003cem>Ezra Gonzalez (Nematode, $30 each)\u003c/em>\u003c/p>\n\u003cp>It’s a guarantee that your older punk friends have complained that music sucks now, or that the scene is dead. To which I always say: go to more shows! Now, there’s a tangible document to rebut those beardy, complainy denim-vest dudes: under the namesake \u003ca href=\"https://www.instagram.com/nematodeworld/\">Nematode\u003c/a>, Bay Area photographer Ezra Gonzalez has published two volumes documenting the local underground music scene. Spanning 2018–2020 and 2021–2023, the photos contain a few recognizable spots (Eli’s Mile High Club, the Rickshaw Stop), but most come from shows at basements, sidewalks and house parties. “It’s been really fun since we got them,” says Matt Brownell, co-owner of \u003ca href=\"https://coneshapetop.com/\">Cone Shape Top\u003c/a> in Oakland. “People pick up the book and say ‘I was at this show!'” Here’s to more photo books documenting the Bay Area’s rich DIY punk scene. (Please do it, \u003ca href=\"https://www.instagram.com/robcoonsphotography/?hl=en\">Rob Coons\u003c/a>!)\u003c/p>\n\u003cfigure id=\"attachment_13961370\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Advertising Shits in Your Head: Strategies for Resistance,’ by Vyvian Raoul and Matt Bonner. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Advertising Shits in Your Head: Strategies for Resistance’\u003c/h2>\n\u003cp>\u003cem>Vyvian Raoul and Matt Bonner (PM Press, $15.95)\u003c/em>\u003c/p>\n\u003cp>While wandering around the Art Book Fair, it’s easy to be seduced by eye-catching book titles (\u003cem>What Is Post-Branding?\u003c/em>, \u003cem>8-Bit Porn Video Games\u003c/em>, \u003cem>Uncreative Writing\u003c/em> by Taylor Swift). Some of these clever titles deliver on their promises, while many do not. This is, in effect, a microcosm of the advertising world! So I was glad to discover that \u003cem>Advertising Shits in Your Head\u003c/em> is backed up by substance as well as humor. Along with a primer on how advertising intrudes on our daily mental lives, the book focuses on “subvertising” — the art of altering, remixing or defacing billboard and poster ads. “A lot of these things, like bus kiosks, are easy to get into. And if it looks like it belongs there, it’ll stay there for a while,” says Dan from Oakland’s PM Press. “It’s a public space! Use it for your own means!”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The SF Art Book Fair continues daily through Sunday, July 21 at the Minnesota Street Project in San Francisco. Admission is free. \u003ca href=\"https://sfartbookfair.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Korean and Chinese Elders Come Together for a Night of Harvest Festival Storytelling",
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"content": "\u003cp>For the past two years, \u003ca href=\"https://www.instagram.com/ssiyagi/\">Ssi Ya Gi\u003c/a> has been fine-tuning its unique program for \u003ca href=\"https://www.kqed.org/arts/13930456/ssi-ya-gi-korean-immigrant-elders-cafe-ohlone-food-memories-pandemic-berkeley\">community outreach\u003c/a>: The organization’s volunteers have met with dozens of Korean elders in the Bay Area and Los Angeles, listening as they shared stories about their most cherished food memories — the boiled whale meat sold in one elder’s hometown, or the deliciously “shiny and greasy” rice that another elder harvested from his family’s rice farm.\u003c/p>\n\u003cp>Then they’ve turned those stories into \u003ca href=\"https://www.ssiyagi.com/portfolio-2\">zines\u003c/a>, preserving them as a record of history and a gorgeous art object that can be shared with the next generation.\u003c/p>\n\u003cp>It’s proved to be a winning formula for an organization born out of a desire to alleviate the profound loneliness that so many monolingual, homebound seniors in the Korean community experienced during the height of the pandemic: As it turns out, there’s no better way to connect with a person than to \u003ci>really\u003c/i> listen to their life story.\u003c/p>\n\u003cp>Now, Ssi Ya Gi is using its distinctive blend of food, elder outreach, oral history and DIY artmaking to build bridges with another community: Chinese seniors in Oakland Chinatown. On Thursday, Sept. 14, elders from the Bay Area’s Chinese and Korean communities will come together at Chinatown’s Lincoln Square Park for a night of cross-cultural story sharing and food.\u003c/p>\n\u003cp>Co-sponsored by the AAPI community–focused art nonprofit \u003ca href=\"https://www.cutfruitcollective.org/\">Cut Fruit Collective\u003c/a> and the \u003ca href=\"https://www.chinatownmemories.org/\">Oakland Chinatown Oral History Project\u003c/a>, the event will celebrate both Chuseok (the Korean harvest festival) and Chinese Mid-Autumn Festival.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>First and foremost, it will be a night of storytelling, as the seniors share their personal — and often delicious — memories of Chuseok and Mid-Autumn Festival. In advance of the event, the three participating organizations worked with Asian American artists to create five new zines based on the Chuseok and Mid-Autumn Festival stories of Korean and Chinese elders in Oakland. The zines are trilingual (translated into English, Korean and Chinese), with titles like \u003ci>Lee Lee’s Mid-Autumn Festival \u003c/i>and \u003ci>Syeon Pyeon With Love\u003c/i>. Attendees can receive copies of the zines in exchange for a donation to support the community work of Ssi Ya Gi and Cut Fruit Collective.\u003c/p>\n\u003cfigure id=\"attachment_13934657\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934657\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Chuseok-Mid-Autumn-Zines.jpg\" alt=\"Five illustrated zines with Korean, English and Chinese text, shown against a blue background.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Chuseok-Mid-Autumn-Zines.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Chuseok-Mid-Autumn-Zines-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Chuseok-Mid-Autumn-Zines-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Chuseok-Mid-Autumn-Zines-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Chuseok-Mid-Autumn-Zines-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Chuseok-Mid-Autumn-Zines-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The five new zines preserve the food memories of Korean and Chinese seniors in Oakland. The stories have been translated into English, Korean and Chinese. \u003ccite>(Courtesy of Cut Fruit Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There will be a hands-on component as well. Ssi Ya Gi is creating a food altar, inspired by the \u003ca href=\"https://www.eater.com/21507882/korean-chuseok-2020-holiday-feast-celebrating-during-covid-19-pandemic\">charye table\u003c/a> that’s traditionally set during Chuseok as a memorial for one’s ancestors. Attendees will be invited to write or draw their own food memory, or a memory of a loved one, on a wishing ribbon that they can place on the altar. In exchange, they’ll get a sweet reward: a Cantonese-style mooncake, songpyeon (steamed rice cake shaped like a half moon) or mungwort bean powder injeolmi (another kind of steamed rice cake) — all treats traditionally served during the Chinese and Korean harvest festivals.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13930456,arts_13924280,arts_13908103']\u003c/span>Last fall, Ssi Ya Gi hosted \u003ca href=\"https://www.kqed.org/arts/13930456/ssi-ya-gi-korean-immigrant-elders-cafe-ohlone-food-memories-pandemic-berkeley\">a similar cross-cultural feast at Cafe Ohlone\u003c/a>, built around the Korean and Ohlone communities’ mutual appreciation of ingredients such as acorn and fernbrake. When I spoke to the organization’s founders at the time, they stressed that they wanted the dinner itself to be a gift to the elders who participated in the project — a way to thank them for passing on their hard-earned wisdom and their memories, which would otherwise be lost to history. Likewise, the Korean and Chinese elders who participated this time will break bread together at a more intimate private listening supper prior to the public celebration.\u003c/p>\n\u003cp>This time, afterwards, the rest of us will have a chance to thank them too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Chuseok and Mid-Autumn Festival story sharing event will take place on Thursday, Sept. 14, 5–8 p.m. at Lincoln Square Park (261 11th St.) in Oakland Chinatown. The free event is part of Oakland Chinatown’s \u003c/i>\u003ca href=\"https://www.friendsoflincolnsquarepark.org/blog/summernights2023\">\u003ci>Lincoln Summer Nights\u003c/i>\u003c/a>\u003ci> series. Online \u003c/i>\u003ca href=\"https://givebutter.com/dLHeJj\">\u003ci>RSVP\u003c/i>\u003c/a>\u003ci> is optional.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the past two years, \u003ca href=\"https://www.instagram.com/ssiyagi/\">Ssi Ya Gi\u003c/a> has been fine-tuning its unique program for \u003ca href=\"https://www.kqed.org/arts/13930456/ssi-ya-gi-korean-immigrant-elders-cafe-ohlone-food-memories-pandemic-berkeley\">community outreach\u003c/a>: The organization’s volunteers have met with dozens of Korean elders in the Bay Area and Los Angeles, listening as they shared stories about their most cherished food memories — the boiled whale meat sold in one elder’s hometown, or the deliciously “shiny and greasy” rice that another elder harvested from his family’s rice farm.\u003c/p>\n\u003cp>Then they’ve turned those stories into \u003ca href=\"https://www.ssiyagi.com/portfolio-2\">zines\u003c/a>, preserving them as a record of history and a gorgeous art object that can be shared with the next generation.\u003c/p>\n\u003cp>It’s proved to be a winning formula for an organization born out of a desire to alleviate the profound loneliness that so many monolingual, homebound seniors in the Korean community experienced during the height of the pandemic: As it turns out, there’s no better way to connect with a person than to \u003ci>really\u003c/i> listen to their life story.\u003c/p>\n\u003cp>Now, Ssi Ya Gi is using its distinctive blend of food, elder outreach, oral history and DIY artmaking to build bridges with another community: Chinese seniors in Oakland Chinatown. On Thursday, Sept. 14, elders from the Bay Area’s Chinese and Korean communities will come together at Chinatown’s Lincoln Square Park for a night of cross-cultural story sharing and food.\u003c/p>\n\u003cp>Co-sponsored by the AAPI community–focused art nonprofit \u003ca href=\"https://www.cutfruitcollective.org/\">Cut Fruit Collective\u003c/a> and the \u003ca href=\"https://www.chinatownmemories.org/\">Oakland Chinatown Oral History Project\u003c/a>, the event will celebrate both Chuseok (the Korean harvest festival) and Chinese Mid-Autumn Festival.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>First and foremost, it will be a night of storytelling, as the seniors share their personal — and often delicious — memories of Chuseok and Mid-Autumn Festival. In advance of the event, the three participating organizations worked with Asian American artists to create five new zines based on the Chuseok and Mid-Autumn Festival stories of Korean and Chinese elders in Oakland. The zines are trilingual (translated into English, Korean and Chinese), with titles like \u003ci>Lee Lee’s Mid-Autumn Festival \u003c/i>and \u003ci>Syeon Pyeon With Love\u003c/i>. Attendees can receive copies of the zines in exchange for a donation to support the community work of Ssi Ya Gi and Cut Fruit Collective.\u003c/p>\n\u003cfigure id=\"attachment_13934657\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934657\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Chuseok-Mid-Autumn-Zines.jpg\" alt=\"Five illustrated zines with Korean, English and Chinese text, shown against a blue background.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Chuseok-Mid-Autumn-Zines.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Chuseok-Mid-Autumn-Zines-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Chuseok-Mid-Autumn-Zines-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Chuseok-Mid-Autumn-Zines-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Chuseok-Mid-Autumn-Zines-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Chuseok-Mid-Autumn-Zines-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The five new zines preserve the food memories of Korean and Chinese seniors in Oakland. The stories have been translated into English, Korean and Chinese. \u003ccite>(Courtesy of Cut Fruit Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There will be a hands-on component as well. Ssi Ya Gi is creating a food altar, inspired by the \u003ca href=\"https://www.eater.com/21507882/korean-chuseok-2020-holiday-feast-celebrating-during-covid-19-pandemic\">charye table\u003c/a> that’s traditionally set during Chuseok as a memorial for one’s ancestors. Attendees will be invited to write or draw their own food memory, or a memory of a loved one, on a wishing ribbon that they can place on the altar. In exchange, they’ll get a sweet reward: a Cantonese-style mooncake, songpyeon (steamed rice cake shaped like a half moon) or mungwort bean powder injeolmi (another kind of steamed rice cake) — all treats traditionally served during the Chinese and Korean harvest festivals.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Last fall, Ssi Ya Gi hosted \u003ca href=\"https://www.kqed.org/arts/13930456/ssi-ya-gi-korean-immigrant-elders-cafe-ohlone-food-memories-pandemic-berkeley\">a similar cross-cultural feast at Cafe Ohlone\u003c/a>, built around the Korean and Ohlone communities’ mutual appreciation of ingredients such as acorn and fernbrake. When I spoke to the organization’s founders at the time, they stressed that they wanted the dinner itself to be a gift to the elders who participated in the project — a way to thank them for passing on their hard-earned wisdom and their memories, which would otherwise be lost to history. Likewise, the Korean and Chinese elders who participated this time will break bread together at a more intimate private listening supper prior to the public celebration.\u003c/p>\n\u003cp>This time, afterwards, the rest of us will have a chance to thank them too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Chuseok and Mid-Autumn Festival story sharing event will take place on Thursday, Sept. 14, 5–8 p.m. at Lincoln Square Park (261 11th St.) in Oakland Chinatown. The free event is part of Oakland Chinatown’s \u003c/i>\u003ca href=\"https://www.friendsoflincolnsquarepark.org/blog/summernights2023\">\u003ci>Lincoln Summer Nights\u003c/i>\u003c/a>\u003ci> series. Online \u003c/i>\u003ca href=\"https://givebutter.com/dLHeJj\">\u003ci>RSVP\u003c/i>\u003c/a>\u003ci> is optional.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "books-readings-summer-bay-area",
"title": "Get Lit: 8 Bay Area Events to Help You Discover Your Next Summer Read",
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"headTitle": "Get Lit: 8 Bay Area Events to Help You Discover Your Next Summer Read | KQED",
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"content": "\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Summer heat always brings me back to being a young student, eager to reconnect with joy during breaks from school. It’s the perfect time to get back into reading for pleasure — to dust off the books you’ve shoved into the corners of your desk or visit the local bookstore or library for something new. There are also plenty of chances to get out and explore the Bay Area’s literary scene, with a wave of author talks, book fairs and zine fests offering spaces for bookworms to gather and discover new reads.\u003c/p>\n\u003cfigure id=\"attachment_13929398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Oakland-2023-youth-poet-laureate-finalists-Sharon-Mckellar-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Oakland-2023-youth-poet-laureate-finalists-Sharon-Mckellar-800x533.jpg\" alt=\"a diverse group of seven young women pose and smile while sitting on a stoop\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Oakland-2023-youth-poet-laureate-finalists-Sharon-Mckellar-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Oakland-2023-youth-poet-laureate-finalists-Sharon-Mckellar-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Oakland-2023-youth-poet-laureate-finalists-Sharon-Mckellar-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Oakland-2023-youth-poet-laureate-finalists-Sharon-Mckellar-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Oakland-2023-youth-poet-laureate-finalists-Sharon-Mckellar-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Oakland-2023-youth-poet-laureate-finalists-Sharon-Mckellar-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Oakland-2023-youth-poet-laureate-finalists-Sharon-Mckellar-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">2023 Oakland Youth Poet Laureate finalists Serafina Mackintosh, Maya Raveneu-Bey, Aniylah (Niy) Dixon, Michelle Vong, Ella Gordon, Isabel Park and Nairobi Barnes. \u003ccite>(Sharon Mckellar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://oaklandlibrary.bibliocommons.com/events/640f576581da764500c35abb\" target=\"_blank\" rel=\"noopener\">Oakland’s Youth Poet Laureate Reading\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oakstop, Oakland \u003c/em>\u003cbr>\n\u003cem>June 2\u003c/em>\u003c/p>\n\u003cp>In high school, I joined a small literary group to find camaraderie with other bookworms. We met weekly, \u003cem>Dead Poets Society\u003c/em>-style, in a secluded part of campus, sharing excerpts from our favorite reads (a good amount was fan fiction) and our own writing projects. I think back on this time as a tender era of exploration, when I was first understanding writing as a way to process my deepest curiosities. It’s always heartening, then, for me to see younger generations come into their own through this form of expression.\u003c/p>\n\u003cp>The Oakland Youth Poet Laureate program was created to help promising young writers do just that, connecting youth ages 13 to 18 with opportunities and community to foster their passions for poetry and literature. On June 2, Oakland Public Library hosts a reading and announcement of this year’s 12th Oakland Youth Poet Laureate and Vice Youth Poet Laureate, selected from a group of seven finalists that includes Aniylah (Niy) Dixon, Ella Gordon, Isabel Park, Maya Raveneau-Bey, Michelle Vong, Nairobi Barnes and Serafina Mackintosh.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Each of these writers has already developed a distinct voice and unique delivery. Watching a recent online series of their readings, I was struck by their composure as they recited poems drawing inspiration from Oakland, while holding space for grief and pain, rebellion against sexism and the power and anxieties of Black womanhood.\u003c/p>\n\u003cfigure id=\"attachment_13929576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-24-at-10.39.51-AM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-24-at-10.39.51-AM-800x488.png\" alt=\"a young Asian American person in a black and white headshot and a Black man with a beard and glasses in a headshot\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-24-at-10.39.51-AM-800x488.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-24-at-10.39.51-AM-1020x622.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-24-at-10.39.51-AM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-24-at-10.39.51-AM-768x468.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-24-at-10.39.51-AM.png 1142w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L to R: Writers Brandon Taylor and Ocean Vuong. \u003ccite>(Tom Hines; H. Xu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>City Arts & Lectures: \u003ca href=\"https://www.cityarts.net/event/brandon-taylor/\" target=\"_blank\" rel=\"noopener\">Brandon Taylor\u003c/a> and \u003ca href=\"https://www.cityarts.net/event/ocean-vuong-2/\">Ocean Vuong\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sydney Goldstein Theater, San Francisco \u003c/em>\u003cbr>\n\u003cem>June 2 (Brandon Taylor) and June 9 (Ocean Vuong)\u003c/em>\u003c/p>\n\u003cp>Around two years ago, I began reading more queer literature from contemporary writers of color, scouring the internet for short stories and poems, and saving as much as I could. The world was in the midst of lockdown chaos, and questions of identity felt more pressing than ever before.\u003c/p>\n\u003cp>This is how I discovered the works of \u003ca href=\"https://www.instagram.com/brandonlgtaylor/?hl=en\">Brandon Taylor\u003c/a> and \u003ca href=\"https://www.instagram.com/ocean_vuong/\">Ocean Vuong\u003c/a>. I devoured Taylor’s essays on his \u003ca href=\"https://lithub.com/who-cares-what-straight-people-think/\">conflictedness in reading and writing queer narratives\u003c/a> and on \u003ca href=\"https://lithub.com/being-gay-vs-being-southern-a-false-choice/\">being gay in the South\u003c/a>; and spent hours underlining quotes from Vuong’s debut novel, \u003cem>On Earth We’re Briefly Gorgeous\u003c/em>. Taylor’s writing encouraged me to think more critically about craft, while Vuong’s prose presented new and unconventional ways to use language in vulnerable stories.\u003c/p>\n\u003cp>At Taylor’s and Vuong’s City Arts & Lectures talks, each writer will discuss their most recent works — Taylor’s upcoming book \u003cem>The Late Americans\u003c/em>, and Vuong’s latest poetry collection, \u003cem>Time is a Mother\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13929544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Peter-Limata-MDX-REPCO-2020-049.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929544\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Peter-Limata-MDX-REPCO-2020-049-800x533.jpeg\" alt=\"a young Black man in a denim button up shirt smiles while holding a children's book in a bookstore\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter-Limata-MDX-REPCO-2020-049-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter-Limata-MDX-REPCO-2020-049-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter-Limata-MDX-REPCO-2020-049-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter-Limata-MDX-REPCO-2020-049-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter-Limata-MDX-REPCO-2020-049.jpeg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peter Limata, seen here at Marcus Books, is an Oakland educator who’s become nationally known for his live book readings. He’ll host this year’s book festival at Children’s Fairyland. \u003ccite>(Molly DeCoudreaux Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://fairyland.org/events-and-performances/book-festival/\">The Children’s Fairyland Book Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Children’s Fairyland, Oakland\u003cbr>\nJune 3\u003c/em>\u003c/p>\n\u003cp>At this family-friendly event, local youth are invited to celebrate literature and reading with a lineup of author talks, book-making activities, a puppet show, meet-and-greets and more. The speaker lineup features illustrators and authors including Angela Dalton, Christian Robinson, Gennifer Choldenko, JaNay Brown-Wood, Mac Barnett, Nidhi Chanani, Shawn Harris and members of Fairyland’s \u003ca href=\"https://www.fairyland.org/education-and-community/youth-writers-workshop/\">Youth Writers Workshop\u003c/a>. The festival will be hosted by Oakland educator\u003ca href=\"https://www.storytimewithmrlimata.com/\"> Mr. Limata\u003c/a>, who is known for his live children’s book readings.\u003c/p>\n\u003cfigure id=\"attachment_13929400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-19-at-12.00.51-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-19-at-12.00.51-PM-800x506.png\" alt=\"a diptych of an author, a woman with brown hair and glasses and a book cover for a graphic novel called 'impossible people'\" width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-19-at-12.00.51-PM-800x506.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-19-at-12.00.51-PM-1020x645.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-19-at-12.00.51-PM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-19-at-12.00.51-PM-768x485.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-19-at-12.00.51-PM.png 1190w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Author Julia Wertz and the cover of her latest book, ‘Impossible People.’ \u003ccite>(Author photo by Oliver Trixl; book cover courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.juliawertz.com/events/\">Cartoonist Julia Wertz’s ‘Impossible People’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Pegasus Books, Berkeley, June 8\u003cbr>\nBookmine, Napa, June 15\u003cbr>\nSilver Sprocket, San Francisco, Aug. 11 (with \u003ca href=\"https://www.instagram.com/janelleblarg\">Janelle Hessig\u003c/a>!)\u003c/em>\u003c/p>\n\u003cp>As both a nosy person and comics lover, my favorite subcategory of the artform has always been diary comics and graphic memoirs. They don’t have to be notable public figures, nor do their recollections need to be magnificent or fanciful for me to be invested — I’m just entranced by people being people, navigating their doubts and fears as they search for their own versions of peace.\u003c/p>\n\u003cp>When I first read Sonoma County cartoonist Julia Wertz’s comics, I immediately fell in love with her storytelling. Wertz has an illustrative style that is cute, simple and detailed; a witty and reflective approach to dialogue and narrative; and an openness that is intimate and relatable. In her latest book, \u003cem>Impossible People\u003c/em>, she details her five-year sobriety journey in all its chaos. Digging into stories of group therapy sessions, relapses, relationship troubles, an eviction and other trials, she tells the story of how she succeeded, failed and picked herself back up throughout her recovery process. Reflective and honest, Wertz’s take on recovery is filled with ups, downs and unexpected turns. Through each winding revelation, she comes to see herself in a new light — one that forces her to care more deeply for herself.\u003c/p>\n\u003cfigure id=\"attachment_13929403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/image10.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929403\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/image10-800x824.png\" alt=\"a young Asian woman poses behind a table full of zines and stickers and tshirts at a book fair\" width=\"800\" height=\"824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image10-800x824.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image10-1020x1051.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image10-160x165.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image10-768x791.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image10.png 1246w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Local illustrator HAETAE will be tabling at the San Jose Art, Zine & Book Fair. \u003ccite>(Courtesy of the artit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.empiresevenstudios.com/sj-art-zine-book-fair\">San Jose Art, Zine & Book Fair\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Japantown, San Jose\u003cbr>\nJune 10–11\u003c/em>\u003c/p>\n\u003cp>A newer addition to the local DIY arts scene, this two-day event is organized by art gallery \u003ca href=\"https://www.instagram.com/empire7studios/\">Empire Seven Studios\u003c/a> and community arts organization \u003ca href=\"https://www.instagram.com/sj.makers/\">SJ Makers\u003c/a>. The event will feature local indie creators tabling with their art, a pop-up market and artist panelists, including Sean Barton, creator of \u003cem>Indecent Exposure\u003c/em>, a 300-page graffiti zine published in San Jose.\u003c/p>\n\u003cp>While the event is relatively new, its presence proves that the South Bay — a region often overlooked in Bay Area arts events — is a thriving hotspot for underground zine culture.\u003c/p>\n\u003cfigure id=\"attachment_13929543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/image7.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929543\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/image7-800x738.png\" alt=\"a young Black woman wearing a coat and red lipstick laughs in a portrait\" width=\"800\" height=\"738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image7-800x738.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image7-1020x941.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image7-160x148.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image7-768x709.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image7.png 1062w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Author and NPR podcast host Aisha Harris. \u003ccite>(Sheilby Macena)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/aisha-harris-in-store-launch-and-signing-for-her-new-book-wannabe-tickets-610208669557\">Aisha Harris’ ‘Wannabe: Reckonings with the Pop Culture That Shapes Me’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Mrs. Dalloway’s, Berkeley\u003c/em>\u003cbr>\n\u003cem>June 14\u003c/em>\u003c/p>\n\u003cp>I’ve often tuned into NPR’s Pop Culture Happy Hour during long walks, finding solace in the lively conversations of its hosts, a warm, funny and knowledgeable group of arts journalists. In bite-sized episodes, the hosts and guests banter and discuss the intricacies of popular shows, films and pop culture events, while dissecting their significance.\u003c/p>\n\u003cp>Host and culture critic \u003ca href=\"https://www.instagram.com/aha88/\">Aisha Harris\u003c/a> is touring this summer with her debut essay collection, \u003cem>Wannabe: Reckonings with the Pop Culture That Shapes Me\u003c/em>. In it, she takes readers through her adolescence, and the pop-culture figures, moments and concepts that impacted her growing up. On Instagram, Harris offers snippets of some of her chapters and the “mood boards” behind them, with one focusing on her relationship with being the “cool girl,” writing that this journey is “the story of a girl who sought power through exception and various posturings of masculinity.”\u003c/p>\n\u003cp>The book is a more intimate look into Harris’ life: a treat for those, like myself, who have grown to savor her wisdom and humor on Pop Culture Happy Hour.\u003c/p>\n\u003cfigure id=\"attachment_13929542\" class=\"wp-caption aligncenter\" style=\"max-width: 509px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/image9.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13929542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/image9-800x534.jpg\" alt=\"people gather at a book fair, scene in an aerial shot\" width=\"509\" height=\"339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image9-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image9-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image9-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image9-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image9-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image9.jpg 1999w\" sizes=\"(max-width: 509px) 100vw, 509px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Attendees and artists gather at SF Art Book Fair 2022. \u003ccite>(Jenna Garrett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfartbookfair.com/\">The San Francisco Art Book Fair\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Minnesota Street Project, San Francisco\u003c/em>\u003cbr>\n\u003cem>July 14-16 (Preview July 13)\u003c/em>\u003c/p>\n\u003cp>Zine fests and book fairs are staples amongst local artists and enthusiasts in the Bay Area: each one a new treasure trove of colorful, eclectic items to add to one’s ever-growing personal collection. The San Francisco Art Book Fair is one of these essential events, and offers a large range of independent artists, publishers and designers who will sell prints, zines, books, apparel and other wares over the course of four days.\u003c/p>\n\u003cp>The fair, currently in its sixth year, also includes artist talks, book presentations, performances, lectures and other special events. In previous years, they’ve hosted a documentary screening on Bay Area zine culture, collaborative drawing sessions and an exhibition showcasing unseen work from cultural icons John Waters and Andy Warhol. Best of all, it retains the spirit of the humble book fair, where accessibility and inclusivity are key. In this place, there is truly something for everyone.\u003c/p>\n\u003cfigure id=\"attachment_13929541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-23-at-1.15.24-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-23-at-1.15.24-PM-800x803.png\" alt=\"a collage of an Asian-American woman with two book covers, with titles 'In the Beautiful Country' and 'Land of Broken Promises'\" width=\"800\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-23-at-1.15.24-PM-800x803.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-23-at-1.15.24-PM-1020x1023.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-23-at-1.15.24-PM-160x161.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-23-at-1.15.24-PM-768x771.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-23-at-1.15.24-PM.png 1212w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Author Jane Kuo with her two novels, ‘In the Beautiful Country,’ and ‘Land of Broken Promises.’ \u003ccite>(Jane Kuo photo by Jon Paris; collage courtesy Palo Alto City Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://paloalto.bibliocommons.com/events/6463ce250e0afc41007480ba\">Jane Kuo’s ‘Land of Broken Promises’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Rinconada Library, Palo Alto\u003c/em>\u003cbr>\n\u003cem>July 15\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Novelist Jane Kuo’s latest book follows Anna, a young Taiwanese immigrant who struggles to adjust to 1980s Los Angeles. Drawn from Kuo’s own life, the book is a tribute to the author’s experience immigrating to the U.S. and her subsequent explorations of identity, language, family and the concept of the American Dream. The novel is a sequel to Kuo’s first book, \u003cem>In the Beautiful Country\u003c/em>, and similarly explores the lesser-told coming-of-age narrative of a young Taiwanese immigrant. Here, Kuo will appear for a craft talk and book signing.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Summer heat always brings me back to being a young student, eager to reconnect with joy during breaks from school. It’s the perfect time to get back into reading for pleasure — to dust off the books you’ve shoved into the corners of your desk or visit the local bookstore or library for something new. There are also plenty of chances to get out and explore the Bay Area’s literary scene, with a wave of author talks, book fairs and zine fests offering spaces for bookworms to gather and discover new reads.\u003c/p>\n\u003cfigure id=\"attachment_13929398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Oakland-2023-youth-poet-laureate-finalists-Sharon-Mckellar-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Oakland-2023-youth-poet-laureate-finalists-Sharon-Mckellar-800x533.jpg\" alt=\"a diverse group of seven young women pose and smile while sitting on a stoop\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Oakland-2023-youth-poet-laureate-finalists-Sharon-Mckellar-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Oakland-2023-youth-poet-laureate-finalists-Sharon-Mckellar-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Oakland-2023-youth-poet-laureate-finalists-Sharon-Mckellar-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Oakland-2023-youth-poet-laureate-finalists-Sharon-Mckellar-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Oakland-2023-youth-poet-laureate-finalists-Sharon-Mckellar-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Oakland-2023-youth-poet-laureate-finalists-Sharon-Mckellar-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Oakland-2023-youth-poet-laureate-finalists-Sharon-Mckellar-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">2023 Oakland Youth Poet Laureate finalists Serafina Mackintosh, Maya Raveneu-Bey, Aniylah (Niy) Dixon, Michelle Vong, Ella Gordon, Isabel Park and Nairobi Barnes. \u003ccite>(Sharon Mckellar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://oaklandlibrary.bibliocommons.com/events/640f576581da764500c35abb\" target=\"_blank\" rel=\"noopener\">Oakland’s Youth Poet Laureate Reading\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oakstop, Oakland \u003c/em>\u003cbr>\n\u003cem>June 2\u003c/em>\u003c/p>\n\u003cp>In high school, I joined a small literary group to find camaraderie with other bookworms. We met weekly, \u003cem>Dead Poets Society\u003c/em>-style, in a secluded part of campus, sharing excerpts from our favorite reads (a good amount was fan fiction) and our own writing projects. I think back on this time as a tender era of exploration, when I was first understanding writing as a way to process my deepest curiosities. It’s always heartening, then, for me to see younger generations come into their own through this form of expression.\u003c/p>\n\u003cp>The Oakland Youth Poet Laureate program was created to help promising young writers do just that, connecting youth ages 13 to 18 with opportunities and community to foster their passions for poetry and literature. On June 2, Oakland Public Library hosts a reading and announcement of this year’s 12th Oakland Youth Poet Laureate and Vice Youth Poet Laureate, selected from a group of seven finalists that includes Aniylah (Niy) Dixon, Ella Gordon, Isabel Park, Maya Raveneau-Bey, Michelle Vong, Nairobi Barnes and Serafina Mackintosh.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Each of these writers has already developed a distinct voice and unique delivery. Watching a recent online series of their readings, I was struck by their composure as they recited poems drawing inspiration from Oakland, while holding space for grief and pain, rebellion against sexism and the power and anxieties of Black womanhood.\u003c/p>\n\u003cfigure id=\"attachment_13929576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-24-at-10.39.51-AM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-24-at-10.39.51-AM-800x488.png\" alt=\"a young Asian American person in a black and white headshot and a Black man with a beard and glasses in a headshot\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-24-at-10.39.51-AM-800x488.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-24-at-10.39.51-AM-1020x622.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-24-at-10.39.51-AM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-24-at-10.39.51-AM-768x468.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-24-at-10.39.51-AM.png 1142w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L to R: Writers Brandon Taylor and Ocean Vuong. \u003ccite>(Tom Hines; H. Xu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>City Arts & Lectures: \u003ca href=\"https://www.cityarts.net/event/brandon-taylor/\" target=\"_blank\" rel=\"noopener\">Brandon Taylor\u003c/a> and \u003ca href=\"https://www.cityarts.net/event/ocean-vuong-2/\">Ocean Vuong\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sydney Goldstein Theater, San Francisco \u003c/em>\u003cbr>\n\u003cem>June 2 (Brandon Taylor) and June 9 (Ocean Vuong)\u003c/em>\u003c/p>\n\u003cp>Around two years ago, I began reading more queer literature from contemporary writers of color, scouring the internet for short stories and poems, and saving as much as I could. The world was in the midst of lockdown chaos, and questions of identity felt more pressing than ever before.\u003c/p>\n\u003cp>This is how I discovered the works of \u003ca href=\"https://www.instagram.com/brandonlgtaylor/?hl=en\">Brandon Taylor\u003c/a> and \u003ca href=\"https://www.instagram.com/ocean_vuong/\">Ocean Vuong\u003c/a>. I devoured Taylor’s essays on his \u003ca href=\"https://lithub.com/who-cares-what-straight-people-think/\">conflictedness in reading and writing queer narratives\u003c/a> and on \u003ca href=\"https://lithub.com/being-gay-vs-being-southern-a-false-choice/\">being gay in the South\u003c/a>; and spent hours underlining quotes from Vuong’s debut novel, \u003cem>On Earth We’re Briefly Gorgeous\u003c/em>. Taylor’s writing encouraged me to think more critically about craft, while Vuong’s prose presented new and unconventional ways to use language in vulnerable stories.\u003c/p>\n\u003cp>At Taylor’s and Vuong’s City Arts & Lectures talks, each writer will discuss their most recent works — Taylor’s upcoming book \u003cem>The Late Americans\u003c/em>, and Vuong’s latest poetry collection, \u003cem>Time is a Mother\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13929544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Peter-Limata-MDX-REPCO-2020-049.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929544\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Peter-Limata-MDX-REPCO-2020-049-800x533.jpeg\" alt=\"a young Black man in a denim button up shirt smiles while holding a children's book in a bookstore\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter-Limata-MDX-REPCO-2020-049-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter-Limata-MDX-REPCO-2020-049-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter-Limata-MDX-REPCO-2020-049-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter-Limata-MDX-REPCO-2020-049-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter-Limata-MDX-REPCO-2020-049.jpeg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peter Limata, seen here at Marcus Books, is an Oakland educator who’s become nationally known for his live book readings. He’ll host this year’s book festival at Children’s Fairyland. \u003ccite>(Molly DeCoudreaux Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://fairyland.org/events-and-performances/book-festival/\">The Children’s Fairyland Book Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Children’s Fairyland, Oakland\u003cbr>\nJune 3\u003c/em>\u003c/p>\n\u003cp>At this family-friendly event, local youth are invited to celebrate literature and reading with a lineup of author talks, book-making activities, a puppet show, meet-and-greets and more. The speaker lineup features illustrators and authors including Angela Dalton, Christian Robinson, Gennifer Choldenko, JaNay Brown-Wood, Mac Barnett, Nidhi Chanani, Shawn Harris and members of Fairyland’s \u003ca href=\"https://www.fairyland.org/education-and-community/youth-writers-workshop/\">Youth Writers Workshop\u003c/a>. The festival will be hosted by Oakland educator\u003ca href=\"https://www.storytimewithmrlimata.com/\"> Mr. Limata\u003c/a>, who is known for his live children’s book readings.\u003c/p>\n\u003cfigure id=\"attachment_13929400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-19-at-12.00.51-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-19-at-12.00.51-PM-800x506.png\" alt=\"a diptych of an author, a woman with brown hair and glasses and a book cover for a graphic novel called 'impossible people'\" width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-19-at-12.00.51-PM-800x506.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-19-at-12.00.51-PM-1020x645.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-19-at-12.00.51-PM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-19-at-12.00.51-PM-768x485.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-19-at-12.00.51-PM.png 1190w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Author Julia Wertz and the cover of her latest book, ‘Impossible People.’ \u003ccite>(Author photo by Oliver Trixl; book cover courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.juliawertz.com/events/\">Cartoonist Julia Wertz’s ‘Impossible People’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Pegasus Books, Berkeley, June 8\u003cbr>\nBookmine, Napa, June 15\u003cbr>\nSilver Sprocket, San Francisco, Aug. 11 (with \u003ca href=\"https://www.instagram.com/janelleblarg\">Janelle Hessig\u003c/a>!)\u003c/em>\u003c/p>\n\u003cp>As both a nosy person and comics lover, my favorite subcategory of the artform has always been diary comics and graphic memoirs. They don’t have to be notable public figures, nor do their recollections need to be magnificent or fanciful for me to be invested — I’m just entranced by people being people, navigating their doubts and fears as they search for their own versions of peace.\u003c/p>\n\u003cp>When I first read Sonoma County cartoonist Julia Wertz’s comics, I immediately fell in love with her storytelling. Wertz has an illustrative style that is cute, simple and detailed; a witty and reflective approach to dialogue and narrative; and an openness that is intimate and relatable. In her latest book, \u003cem>Impossible People\u003c/em>, she details her five-year sobriety journey in all its chaos. Digging into stories of group therapy sessions, relapses, relationship troubles, an eviction and other trials, she tells the story of how she succeeded, failed and picked herself back up throughout her recovery process. Reflective and honest, Wertz’s take on recovery is filled with ups, downs and unexpected turns. Through each winding revelation, she comes to see herself in a new light — one that forces her to care more deeply for herself.\u003c/p>\n\u003cfigure id=\"attachment_13929403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/image10.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929403\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/image10-800x824.png\" alt=\"a young Asian woman poses behind a table full of zines and stickers and tshirts at a book fair\" width=\"800\" height=\"824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image10-800x824.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image10-1020x1051.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image10-160x165.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image10-768x791.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image10.png 1246w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Local illustrator HAETAE will be tabling at the San Jose Art, Zine & Book Fair. \u003ccite>(Courtesy of the artit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.empiresevenstudios.com/sj-art-zine-book-fair\">San Jose Art, Zine & Book Fair\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Japantown, San Jose\u003cbr>\nJune 10–11\u003c/em>\u003c/p>\n\u003cp>A newer addition to the local DIY arts scene, this two-day event is organized by art gallery \u003ca href=\"https://www.instagram.com/empire7studios/\">Empire Seven Studios\u003c/a> and community arts organization \u003ca href=\"https://www.instagram.com/sj.makers/\">SJ Makers\u003c/a>. The event will feature local indie creators tabling with their art, a pop-up market and artist panelists, including Sean Barton, creator of \u003cem>Indecent Exposure\u003c/em>, a 300-page graffiti zine published in San Jose.\u003c/p>\n\u003cp>While the event is relatively new, its presence proves that the South Bay — a region often overlooked in Bay Area arts events — is a thriving hotspot for underground zine culture.\u003c/p>\n\u003cfigure id=\"attachment_13929543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/image7.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929543\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/image7-800x738.png\" alt=\"a young Black woman wearing a coat and red lipstick laughs in a portrait\" width=\"800\" height=\"738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image7-800x738.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image7-1020x941.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image7-160x148.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image7-768x709.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image7.png 1062w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Author and NPR podcast host Aisha Harris. \u003ccite>(Sheilby Macena)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/aisha-harris-in-store-launch-and-signing-for-her-new-book-wannabe-tickets-610208669557\">Aisha Harris’ ‘Wannabe: Reckonings with the Pop Culture That Shapes Me’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Mrs. Dalloway’s, Berkeley\u003c/em>\u003cbr>\n\u003cem>June 14\u003c/em>\u003c/p>\n\u003cp>I’ve often tuned into NPR’s Pop Culture Happy Hour during long walks, finding solace in the lively conversations of its hosts, a warm, funny and knowledgeable group of arts journalists. In bite-sized episodes, the hosts and guests banter and discuss the intricacies of popular shows, films and pop culture events, while dissecting their significance.\u003c/p>\n\u003cp>Host and culture critic \u003ca href=\"https://www.instagram.com/aha88/\">Aisha Harris\u003c/a> is touring this summer with her debut essay collection, \u003cem>Wannabe: Reckonings with the Pop Culture That Shapes Me\u003c/em>. In it, she takes readers through her adolescence, and the pop-culture figures, moments and concepts that impacted her growing up. On Instagram, Harris offers snippets of some of her chapters and the “mood boards” behind them, with one focusing on her relationship with being the “cool girl,” writing that this journey is “the story of a girl who sought power through exception and various posturings of masculinity.”\u003c/p>\n\u003cp>The book is a more intimate look into Harris’ life: a treat for those, like myself, who have grown to savor her wisdom and humor on Pop Culture Happy Hour.\u003c/p>\n\u003cfigure id=\"attachment_13929542\" class=\"wp-caption aligncenter\" style=\"max-width: 509px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/image9.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13929542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/image9-800x534.jpg\" alt=\"people gather at a book fair, scene in an aerial shot\" width=\"509\" height=\"339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image9-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image9-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image9-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image9-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image9-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/image9.jpg 1999w\" sizes=\"(max-width: 509px) 100vw, 509px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Attendees and artists gather at SF Art Book Fair 2022. \u003ccite>(Jenna Garrett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfartbookfair.com/\">The San Francisco Art Book Fair\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Minnesota Street Project, San Francisco\u003c/em>\u003cbr>\n\u003cem>July 14-16 (Preview July 13)\u003c/em>\u003c/p>\n\u003cp>Zine fests and book fairs are staples amongst local artists and enthusiasts in the Bay Area: each one a new treasure trove of colorful, eclectic items to add to one’s ever-growing personal collection. The San Francisco Art Book Fair is one of these essential events, and offers a large range of independent artists, publishers and designers who will sell prints, zines, books, apparel and other wares over the course of four days.\u003c/p>\n\u003cp>The fair, currently in its sixth year, also includes artist talks, book presentations, performances, lectures and other special events. In previous years, they’ve hosted a documentary screening on Bay Area zine culture, collaborative drawing sessions and an exhibition showcasing unseen work from cultural icons John Waters and Andy Warhol. Best of all, it retains the spirit of the humble book fair, where accessibility and inclusivity are key. In this place, there is truly something for everyone.\u003c/p>\n\u003cfigure id=\"attachment_13929541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-23-at-1.15.24-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-23-at-1.15.24-PM-800x803.png\" alt=\"a collage of an Asian-American woman with two book covers, with titles 'In the Beautiful Country' and 'Land of Broken Promises'\" width=\"800\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-23-at-1.15.24-PM-800x803.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-23-at-1.15.24-PM-1020x1023.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-23-at-1.15.24-PM-160x161.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-23-at-1.15.24-PM-768x771.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-23-at-1.15.24-PM.png 1212w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Author Jane Kuo with her two novels, ‘In the Beautiful Country,’ and ‘Land of Broken Promises.’ \u003ccite>(Jane Kuo photo by Jon Paris; collage courtesy Palo Alto City Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://paloalto.bibliocommons.com/events/6463ce250e0afc41007480ba\">Jane Kuo’s ‘Land of Broken Promises’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Rinconada Library, Palo Alto\u003c/em>\u003cbr>\n\u003cem>July 15\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Novelist Jane Kuo’s latest book follows Anna, a young Taiwanese immigrant who struggles to adjust to 1980s Los Angeles. Drawn from Kuo’s own life, the book is a tribute to the author’s experience immigrating to the U.S. and her subsequent explorations of identity, language, family and the concept of the American Dream. The novel is a sequel to Kuo’s first book, \u003cem>In the Beautiful Country\u003c/em>, and similarly explores the lesser-told coming-of-age narrative of a young Taiwanese immigrant. Here, Kuo will appear for a craft talk and book signing.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "xerox-art-sf-library-copier-zines-rebellion-bay-area-history",
"title": "A New Exhibit Celebrates Xerox Art, Zines and DIY Culture in the Bay",
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"headTitle": "A New Exhibit Celebrates Xerox Art, Zines and DIY Culture in the Bay | KQED",
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"content": "\u003cp>There are some true treasures in the new exhibit \u003cem>Positively Charged: Copier Art in the Bay Area Since the 1960s\u003c/em>. Spread across two venues — \u003ca href=\"https://sfpl.org/locations/main-library\">San Francisco’s Main Library\u003c/a> and the \u003ca href=\"https://sfcb.org/\">San Francisco Center For the Book\u003c/a> — \u003cem>Positively Charged\u003c/em> traces how the advent of the photocopier inspired artists and bolstered a variety of activist communities.\u003c/p>\n\u003cp>At the Center For the Book, the exhibit celebrates photocopied collage art and zines that were brought into the world by Bay Area free thinkers, using the lowly photocopier and whatever materials they had to hand. Wry postcards, idiosyncratic fanzine creations, art projects turned into mailers and some gorgeous collage work are all on display.\u003c/p>\n\u003cp>Original works of collage by Bay Area artists \u003ca href=\"https://www.sascolby.com/xerox-art-1976-1978?lightbox=dataItem-j6kapmzx1\" rel=\"noopener\">Sas Colby\u003c/a> and \u003ca href=\"https://www.sallyw.com/tagged/collage\">Sally Wassink\u003c/a> sit tantalizingly alongside the copies that went out into the world as postcards and mailers.\u003c/p>\n\u003cfigure id=\"attachment_13924657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924657\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/20230202_135304-800x1107.jpg\" alt=\"Hands wearing white gloves hold up a framed image of the Golden Gate Bridge over a photograph of the Bay Bridge. The image is duplicated underneath.\" width=\"800\" height=\"1107\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-800x1107.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-1020x1411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-768x1062.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-1110x1536.jpg 1110w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-1480x2048.jpg 1480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-1920x2656.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-scaled.jpg 1851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sally Wassink’s San Francisco postcard from the 1980s. (Top) Original collage, (Bottom) The photocopied postcard. \u003ccite>(Rae Alexandra/ San Francisco Center for the Book)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One mesmerizing piece that spans almost an entire wall features multiple works of collage by \u003ca href=\"https://art.stanford.edu/people/enrique-chagoya\" rel=\"noopener\">Enrique Chagoya\u003c/a>, photocopied and combined into a single fold-out booklet. In this piece — titled \u003cem>Tales From the Conquest/ Codex —\u003c/em> the Mexico-born, Berkeley-based artist juxtaposes images of traditional Mexican artwork with characters from American comic books. In one section, Wonder Woman sits between an Incan statue and Our Lady of Guadalupe. In another, Superman encourages a boy named Manuel who came “to the USA for a better life.”\u003c/p>\n\u003cfigure id=\"attachment_13924668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/EC-800x273.jpg\" alt=\"A folded out booklet inside a display case shows traditional Mexican artwork and American cartoons.\" width=\"800\" height=\"273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-800x273.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-1020x348.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-160x55.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-768x262.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-1536x523.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-2048x698.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-1920x654.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Enriaque Chagoya’s ‘Tales From the Conquest/Codex’ (1992) on display at the San Francisco Center for the Book. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the Center for the Book focuses on the visual creations of artists using photocopiers, the library portion of \u003cem>Positively Charged\u003c/em> provides some historical context. It explains the origins of the photocopier, how the technology developed over time and demonstrates how underground movements stayed connected and energized by handmade photocopied materials.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The library’s exhibit includes independent music presses and activist papers from the ‘60s and ‘70s. There’s the first-ever issue of the punk rock fanzine \u003cem>Search and Destroy\u003c/em> from 1977. There are feminist calls to arms from the ‘70s and ‘80s. You can even see one of the first-ever excerpted reprints of Valerie Solanas’ \u003cem>Scum Manifesto\u003c/em> from 1968, issued shortly after she shot Andy Warhol.\u003c/p>\n\u003cp>There’s some great art on this side of the exhibition as well. Works by \u003ca href=\"https://en.wikipedia.org/wiki/Min%C3%A9_Okubo#Citizen_13660\" rel=\"noopener\">Miné Okubu\u003c/a> show how the artist, author and internment camp survivor photocopied whimsical self-portraits, embellished them with flourishes of color and sent them out as Christmas cards in the very earliest days of copier technology.\u003c/p>\n\u003cfigure id=\"attachment_13924444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924444\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/20230130_133100-800x993.jpg\" alt=\"A freehand sketch shows a girl wearing a Christmas hat, in movement, with two small birds on her shoulders. She is looking over her shoulder at the sun which has dots for eyes. Stylish writing next to the girl says 'Greetings 1958. Miné Okubu.' \" width=\"800\" height=\"993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100-1020x1266.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100-768x953.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100-1238x1536.jpg 1238w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100.jpg 1362w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photocopied Christmas card from 1958 by Miné Okubu. \u003ccite>(Rae Alexandra/ San Francisco Main Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The joy of \u003cem>Positively Charged\u003c/em> —which was curated by Jennie Hinchcliff and \u003ca href=\"https://maymanahfarhat.com/\">Maymanah Farhat\u003c/a> — is the sheer inspiration it provides. It lovingly recalls a pre-internet time when tactile pleasures were prioritized. It also asserts the ongoing relevance of zines — the San Francisco Center of the Book has many local fanzines on hand to read at will. And, best of all, it reminds us that the act of getting messages, thoughts and things of beauty out into the world is still in our own hands.\u003c/p>\n\u003cp>\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\">\u003cbr>\n\u003cem>‘Positively Charged: Copier Art in the Bay Area Since the 1960s’ is on view at the San Francisco Center for the Book (375 Rhode Island St.) and in the San Francisco Main Library’s Skylight Gallery (100 Larkin St.) through March 19, 2023. \u003ca href=\"https://sfcb.org/positivelycharged\">Exhibition details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are some true treasures in the new exhibit \u003cem>Positively Charged: Copier Art in the Bay Area Since the 1960s\u003c/em>. Spread across two venues — \u003ca href=\"https://sfpl.org/locations/main-library\">San Francisco’s Main Library\u003c/a> and the \u003ca href=\"https://sfcb.org/\">San Francisco Center For the Book\u003c/a> — \u003cem>Positively Charged\u003c/em> traces how the advent of the photocopier inspired artists and bolstered a variety of activist communities.\u003c/p>\n\u003cp>At the Center For the Book, the exhibit celebrates photocopied collage art and zines that were brought into the world by Bay Area free thinkers, using the lowly photocopier and whatever materials they had to hand. Wry postcards, idiosyncratic fanzine creations, art projects turned into mailers and some gorgeous collage work are all on display.\u003c/p>\n\u003cp>Original works of collage by Bay Area artists \u003ca href=\"https://www.sascolby.com/xerox-art-1976-1978?lightbox=dataItem-j6kapmzx1\" rel=\"noopener\">Sas Colby\u003c/a> and \u003ca href=\"https://www.sallyw.com/tagged/collage\">Sally Wassink\u003c/a> sit tantalizingly alongside the copies that went out into the world as postcards and mailers.\u003c/p>\n\u003cfigure id=\"attachment_13924657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924657\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/20230202_135304-800x1107.jpg\" alt=\"Hands wearing white gloves hold up a framed image of the Golden Gate Bridge over a photograph of the Bay Bridge. The image is duplicated underneath.\" width=\"800\" height=\"1107\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-800x1107.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-1020x1411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-768x1062.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-1110x1536.jpg 1110w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-1480x2048.jpg 1480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-1920x2656.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-scaled.jpg 1851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sally Wassink’s San Francisco postcard from the 1980s. (Top) Original collage, (Bottom) The photocopied postcard. \u003ccite>(Rae Alexandra/ San Francisco Center for the Book)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One mesmerizing piece that spans almost an entire wall features multiple works of collage by \u003ca href=\"https://art.stanford.edu/people/enrique-chagoya\" rel=\"noopener\">Enrique Chagoya\u003c/a>, photocopied and combined into a single fold-out booklet. In this piece — titled \u003cem>Tales From the Conquest/ Codex —\u003c/em> the Mexico-born, Berkeley-based artist juxtaposes images of traditional Mexican artwork with characters from American comic books. In one section, Wonder Woman sits between an Incan statue and Our Lady of Guadalupe. In another, Superman encourages a boy named Manuel who came “to the USA for a better life.”\u003c/p>\n\u003cfigure id=\"attachment_13924668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/EC-800x273.jpg\" alt=\"A folded out booklet inside a display case shows traditional Mexican artwork and American cartoons.\" width=\"800\" height=\"273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-800x273.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-1020x348.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-160x55.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-768x262.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-1536x523.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-2048x698.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-1920x654.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Enriaque Chagoya’s ‘Tales From the Conquest/Codex’ (1992) on display at the San Francisco Center for the Book. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the Center for the Book focuses on the visual creations of artists using photocopiers, the library portion of \u003cem>Positively Charged\u003c/em> provides some historical context. It explains the origins of the photocopier, how the technology developed over time and demonstrates how underground movements stayed connected and energized by handmade photocopied materials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The library’s exhibit includes independent music presses and activist papers from the ‘60s and ‘70s. There’s the first-ever issue of the punk rock fanzine \u003cem>Search and Destroy\u003c/em> from 1977. There are feminist calls to arms from the ‘70s and ‘80s. You can even see one of the first-ever excerpted reprints of Valerie Solanas’ \u003cem>Scum Manifesto\u003c/em> from 1968, issued shortly after she shot Andy Warhol.\u003c/p>\n\u003cp>There’s some great art on this side of the exhibition as well. Works by \u003ca href=\"https://en.wikipedia.org/wiki/Min%C3%A9_Okubo#Citizen_13660\" rel=\"noopener\">Miné Okubu\u003c/a> show how the artist, author and internment camp survivor photocopied whimsical self-portraits, embellished them with flourishes of color and sent them out as Christmas cards in the very earliest days of copier technology.\u003c/p>\n\u003cfigure id=\"attachment_13924444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924444\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/20230130_133100-800x993.jpg\" alt=\"A freehand sketch shows a girl wearing a Christmas hat, in movement, with two small birds on her shoulders. She is looking over her shoulder at the sun which has dots for eyes. Stylish writing next to the girl says 'Greetings 1958. Miné Okubu.' \" width=\"800\" height=\"993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100-1020x1266.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100-768x953.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100-1238x1536.jpg 1238w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100.jpg 1362w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photocopied Christmas card from 1958 by Miné Okubu. \u003ccite>(Rae Alexandra/ San Francisco Main Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The joy of \u003cem>Positively Charged\u003c/em> —which was curated by Jennie Hinchcliff and \u003ca href=\"https://maymanahfarhat.com/\">Maymanah Farhat\u003c/a> — is the sheer inspiration it provides. It lovingly recalls a pre-internet time when tactile pleasures were prioritized. It also asserts the ongoing relevance of zines — the San Francisco Center of the Book has many local fanzines on hand to read at will. And, best of all, it reminds us that the act of getting messages, thoughts and things of beauty out into the world is still in our own hands.\u003c/p>\n\u003cp>\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\">\u003cbr>\n\u003cem>‘Positively Charged: Copier Art in the Bay Area Since the 1960s’ is on view at the San Francisco Center for the Book (375 Rhode Island St.) and in the San Francisco Main Library’s Skylight Gallery (100 Larkin St.) through March 19, 2023. \u003ca href=\"https://sfcb.org/positivelycharged\">Exhibition details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[dropcap]S[/dropcap]ince 2017, the \u003ca href=\"https://www.instagram.com/baqzf/?hl=en\">Bay Area Queer Zine Fest (BAQZF)\u003c/a> has been a gathering space for self-proclaimed weirdos, punks and outcasts to exchange handmade art and find community.\u003c/p>\n\u003cp>For many, zines are a particularly liberating medium: Whether photocopied and stapled or screen-printed and bound, these self-made booklets can contain the most intimate recesses of a zinester’s mind. There’s a rush of adrenaline as creators and readers meet over folding tables and chat about their nerdiest passions. Once an artist parts ways with a zine, they go home with the satisfaction of knowing that in the corner of someone’s room exists a small, tangible piece of them.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.bayareaqueerzinefest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">BAQZF returns Nov. 12-19 \u003c/a>with its first array of in-person programming since the pandemic started. For organizers, this year is about continuing to amplify queer and trans artists of color while uplifting a younger generation of zine makers. As more young people get acquainted with this long-standing medium, the punks who are now grown up are leading an effort to support, mentor and learn from these new voices.\u003c/p>\n\u003cp>Historians trace zines back to 1930, and the artform expanded greatly in the 1990s with an explosion of feminist, punk, political and queer D.I.Y. publications. Unbound by the pressures of commercial publishing, zine makers documented and printed their thoughts on their own terms. Zine fests where creators could meet and sell art became more popular over the years, but artist \u003ca href=\"https://www.instagram.com/lngrmstplr/\">Maira McDermott\u003c/a> yearned for an event made for and by queer people.\u003c/p>\n\u003cp>In 2017, McDermott founded the Bay Area Queer Zine Fest, which debuted at Oakland’s East Bay Community Space. The 40 participating artists’ work covered topics like mixed-race identity, gender, sexuality and mental health. Alien and star balloons decorated the intimate venue, and artists beamed as people approached their tables to ask about their creations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Traction for the fest grew over the next three years, but the pandemic forced BAQZF organizers to pivot online in 2021. This year, the organizing committee decided to keep some virtual components to allow for greater accessibility for people with disabilities. They also expanded the fest to include an in-person zine swap and reading at\u003ca href=\"https://www.instagram.com/crisisclubgallery/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Crisis Club Gallery\u003c/a> on Nov. 12 and 13, as well as a youth zine workshop on Saturday Nov. 19 at \u003ca href=\"https://www.rpscollective.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rock Paper Scissors Collective\u003c/a>. In addition, there will be a virtual panel on zine politics, the date of which hasn’t yet been announced, and “virtual tabling” all week with artists’ shop links and bios.\u003c/p>\n\u003cp>The panel and youth zine workshop are new introductions to the fest. BAQZF organizer \u003ca href=\"https://www.instagram.com/prima.verde/\">L. Herrada-Rios\u003c/a>, who is in their 30s, says that the event’s mission quickly grew beyond connecting with their peers. “As time has gone on, I see this as something really important for younger people, especially in a time when queer and trans identities are being targeted,” says the artist. [pullquote size='medium' align='right]A zine holds specific moments — exhalations, stray thoughts and cathartic declarations — and preserves them into small, readable capsules.[/pullquote]\u003c/p>\n\u003cp>The youth workshop will be facilitated by organizer \u003ca href=\"https://www.instagram.com/radbreath/\">Niko Nada\u003c/a>, who led their first youth zine workshop by accident. “I’m pretty sure it was just at one of the fests I was tabling,” says Nada. “And I sat in the kids’ corner because they had all the crayons.”\u003c/p>\n\u003cp>Nada grew up in Redwood City, where they often felt out of place for being “too weird or too queer or too Brown in certain settings.” In the 2000s, Nada befriended pen pals on MySpace, exchanging letters and small handmade books. When they realized there was a word for what they were doing — zine making — they felt like they had entered an underground “secret circle” that granted them the sense of belonging they’d been craving. Now, Nada is passionate about recreating that feeling for younger artists and facilitating spaces where teenagers can be messy and expressive without judgment.\u003c/p>\n\u003cp>“There’s weirdo kids everywhere, you know?” says Nada. “And some of them are in environments that uplift them and some of them are not. And I just want to know that I’ve put my energy towards making it a little easier for them to find a safe space and figure their shit out.”\u003c/p>\n\u003cp>During these workshops, Nada provides attendees with paper, pencils, stamps and stickers, and walks them through putting together a mini eight-fold zine. But beyond that, there is no instruction or lecturing. “I am in no way telling people that I know the type of art that needs to be in the world,” says Nada. “I just want to remind people that they’re capable of making art and that it can be in the world if they want it to be.”\u003c/p>\n\u003cp>https://www.instagram.com/p/CTxIHRnJDEr/?hl=en\u003c/p>\n\u003cp>[dropcap]Z[/dropcap]ines unlocked a sense of freedom and possibility for high school student Kavya Jolly. At 16 years old, he is the youngest BAQZF organizer, a role he says alleviates his stress from homework, AP classes, extracurriculars and the SAT. His brows unfurl and his expression relaxes when he discusses his first zine, a biting political satire on communism written in bright red ink that he made during a workshop hosted by McDermott and Nada earlier in the year.\u003c/p>\n\u003cp>Living in the quiet suburbs of Fremont, Jolly normally finds it difficult to connect with peers over the things he cares about: his queerness, radical politics, zine making and art. When he first met Nada and McDermott, he was awestruck.\u003c/p>\n\u003cp>“I was like, ‘Oh my God, these people are so cool,’” Jolly gushes. “I wanted to be them. I think they’re both just really great representations of how zine culture really stresses being your authentic self, and doing what you want to do, and pursuing what you want to pursue.” To Jolly, the two provided more than a creative outlet — they embodied a future that was colorful, alternative and openly queer, something that Jolly aspires to but finds difficult to embrace in his current situation.\u003c/p>\n\u003cp>“I guess my authentic self would be someone who just kind of does whatever they want — which is really hard when you’re 16,” says Jolly. “I’m really excited to be able to hopefully find a community of other people [at the Bay Area Queer Zine Fest] that are like me and who want to talk about things that are usually frowned upon or want to pursue things that are usually discouraged in society.”\u003c/p>\n\u003cfigure id=\"attachment_13921431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921431\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Mari%CC%81a-Queer-Ancestors-Project-image-800x576.png\" alt=\"\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/María-Queer-Ancestors-Project-image-800x576.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/María-Queer-Ancestors-Project-image-1020x735.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/María-Queer-Ancestors-Project-image-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/María-Queer-Ancestors-Project-image-768x553.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/María-Queer-Ancestors-Project-image.png 1508w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist María Valle works on a new print. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similarly, zine making helped artist \u003ca href=\"https://www.instagram.com/stargirlsanctuary/\">María Valle\u003c/a> explore their emerging queerness. After graduating high school during the pandemic, Valle felt stuck: Drawing was once expansive and free-flowing, but they struggled to put anything down on the page. Slowly, they began to express their conflicted feelings about their identity through sculpting, painting and zines. “I think that I’m no longer scared to make art that is messy or that appears ugly, because so much of queer art tends to be like that — and that can be really powerful,” says Valle.\u003c/p>\n\u003cp>In August, Valle joined the \u003ca href=\"https://www.instagram.com/queerancestorsproject/\">Queer Ancestors Project\u003c/a>, an organization dedicated to providing young queer artists with free printmaking workshops, community building and resources about queer history. Valle will represent Queer Ancestors Project at BAQZF, sharing zines that incorporate some of their recent prints. Their work often includes flower and star motifs, symbolizing new pathways that form in the interconnectedness between queer individuals and their ancestors. In a panel discussion on the politics of zine making, they will also discuss the art form’s rich history and persistent punk essence.\u003c/p>\n\u003cp>[dropcap]L[/dropcap]ike Jolly and Valle, cartoonist and BAQZF tabler \u003ca href=\"https://www.instagram.com/nuthingoodat4/\">Avy Jetter\u003c/a> searches for authenticity, vulnerability and representation through her own creativity. Some of her recent zines have covered her journey with grief and the toll that racial microaggressions have had on her health.\u003c/p>\n\u003cp>She studied painting at California College of the Arts in the ’80s but didn’t get into comic book making until a decade ago, when she was in her 40s. In 2012, Jetter created the horror comic \u003ca href=\"https://nuthingoodat4.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Nuthin’ Good Ever Happens at 4 a.m.\u003c/em>\u003c/a> featuring an all Black and brown cast. The story is centered in Oakland, with characters that resemble Jetter’s childhood friends and settings adapted from her observations of the city. She stresses the importance of creating visibility around narratives like her own — even in stories that are bizarre, fictional and seemingly out of reach.\u003c/p>\n\u003cp>“If your future dystopian world doesn’t include any Black people, Brown people, Asian people, disabled people — is that a world you want to live in in the future?” says Jetter. “I always think our art reflects our life. How do people see themselves in the movies you make, the stories you tell? We all should have our voices heard. We have to tell our own stories, because who else will?”\u003c/p>\n\u003cp>In 2016, she began making personal zines that brought her own story and reflections on race, loss and mental health to the forefront. Prior to this, she’d had no interest in being so personal in her work. She was comfortable in the dark, gory landscapes of her comic. But after losing two of her brothers during the pandemic, she turned towards zine making to process her grief and share those difficult emotions with the hope that others could find compassion for themselves in their own lives. [aside postid='arts_13921336']\u003c/p>\n\u003cp>“Art sustains me. It heals me,” says Jetter. “It helps me grow as a person and understand stuff outside of art.”\u003c/p>\n\u003cp>This ability to process, reframe and ponder complicated subjects through art is not dissimilar to the way Jolly thinks about his trans identity and politics through satirical commentary, or the way that Valle communicates their coming out process through environmental printmaking. Though their styles and levels of experience are varied, each artist’s work contributes to a zine archive that is expanding with each generation.\u003c/p>\n\u003cp>“You can learn from someone who is doing what you’re doing,” Jetter says.\u003c/p>\n\u003cfigure id=\"attachment_13921432\" class=\"wp-caption aligncenter\" style=\"max-width: 466px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921432\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/img169.jpeg\" alt=\"\" width=\"466\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/img169.jpeg 466w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/img169-160x220.jpeg 160w\" sizes=\"(max-width: 466px) 100vw, 466px\">\u003cfigcaption class=\"wp-caption-text\">A portrait by Avy Jetter. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, a zine holds specific moments — exhalations, stray thoughts and cathartic declarations — and preserves them into small, readable capsules. Describing zines as “blips in time” and “bookmarks” of their life, Nada champions the zine as an ever evolving entity. It’s a practice and a medium, comfort and reclamation.\u003c/p>\n\u003cp>“There’s no reason that zines will ever fall out of fashion, you know? It’s not a trend,” Nada says. “You can make a zine about pit stops to take on your road trips, you can make a zine about food recipes. It encompasses everything but at the same time, is so simple, so direct. It existed before me and it’ll exist after me, and I appreciate that.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>The Bay Area Queer Zine Fest takes place Nov. 12-19, kicking off with a zine swap on Saturday Nov. 12 at the Crisis Club Gallery in Oakland. Attendance is free. \u003ca href=\"https://www.instagram.com/baqzf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Find more information about tablers and events here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">S\u003c/span>\u003c/p>\u003cp>ince 2017, the \u003ca href=\"https://www.instagram.com/baqzf/?hl=en\">Bay Area Queer Zine Fest (BAQZF)\u003c/a> has been a gathering space for self-proclaimed weirdos, punks and outcasts to exchange handmade art and find community.\u003c/p>\n\u003cp>For many, zines are a particularly liberating medium: Whether photocopied and stapled or screen-printed and bound, these self-made booklets can contain the most intimate recesses of a zinester’s mind. There’s a rush of adrenaline as creators and readers meet over folding tables and chat about their nerdiest passions. Once an artist parts ways with a zine, they go home with the satisfaction of knowing that in the corner of someone’s room exists a small, tangible piece of them.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.bayareaqueerzinefest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">BAQZF returns Nov. 12-19 \u003c/a>with its first array of in-person programming since the pandemic started. For organizers, this year is about continuing to amplify queer and trans artists of color while uplifting a younger generation of zine makers. As more young people get acquainted with this long-standing medium, the punks who are now grown up are leading an effort to support, mentor and learn from these new voices.\u003c/p>\n\u003cp>Historians trace zines back to 1930, and the artform expanded greatly in the 1990s with an explosion of feminist, punk, political and queer D.I.Y. publications. Unbound by the pressures of commercial publishing, zine makers documented and printed their thoughts on their own terms. Zine fests where creators could meet and sell art became more popular over the years, but artist \u003ca href=\"https://www.instagram.com/lngrmstplr/\">Maira McDermott\u003c/a> yearned for an event made for and by queer people.\u003c/p>\n\u003cp>In 2017, McDermott founded the Bay Area Queer Zine Fest, which debuted at Oakland’s East Bay Community Space. The 40 participating artists’ work covered topics like mixed-race identity, gender, sexuality and mental health. Alien and star balloons decorated the intimate venue, and artists beamed as people approached their tables to ask about their creations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Traction for the fest grew over the next three years, but the pandemic forced BAQZF organizers to pivot online in 2021. This year, the organizing committee decided to keep some virtual components to allow for greater accessibility for people with disabilities. They also expanded the fest to include an in-person zine swap and reading at\u003ca href=\"https://www.instagram.com/crisisclubgallery/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Crisis Club Gallery\u003c/a> on Nov. 12 and 13, as well as a youth zine workshop on Saturday Nov. 19 at \u003ca href=\"https://www.rpscollective.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rock Paper Scissors Collective\u003c/a>. In addition, there will be a virtual panel on zine politics, the date of which hasn’t yet been announced, and “virtual tabling” all week with artists’ shop links and bios.\u003c/p>\n\u003cp>The panel and youth zine workshop are new introductions to the fest. BAQZF organizer \u003ca href=\"https://www.instagram.com/prima.verde/\">L. Herrada-Rios\u003c/a>, who is in their 30s, says that the event’s mission quickly grew beyond connecting with their peers. “As time has gone on, I see this as something really important for younger people, especially in a time when queer and trans identities are being targeted,” says the artist. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The youth workshop will be facilitated by organizer \u003ca href=\"https://www.instagram.com/radbreath/\">Niko Nada\u003c/a>, who led their first youth zine workshop by accident. “I’m pretty sure it was just at one of the fests I was tabling,” says Nada. “And I sat in the kids’ corner because they had all the crayons.”\u003c/p>\n\u003cp>Nada grew up in Redwood City, where they often felt out of place for being “too weird or too queer or too Brown in certain settings.” In the 2000s, Nada befriended pen pals on MySpace, exchanging letters and small handmade books. When they realized there was a word for what they were doing — zine making — they felt like they had entered an underground “secret circle” that granted them the sense of belonging they’d been craving. Now, Nada is passionate about recreating that feeling for younger artists and facilitating spaces where teenagers can be messy and expressive without judgment.\u003c/p>\n\u003cp>“There’s weirdo kids everywhere, you know?” says Nada. “And some of them are in environments that uplift them and some of them are not. And I just want to know that I’ve put my energy towards making it a little easier for them to find a safe space and figure their shit out.”\u003c/p>\n\u003cp>During these workshops, Nada provides attendees with paper, pencils, stamps and stickers, and walks them through putting together a mini eight-fold zine. But beyond that, there is no instruction or lecturing. “I am in no way telling people that I know the type of art that needs to be in the world,” says Nada. “I just want to remind people that they’re capable of making art and that it can be in the world if they want it to be.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">Z\u003c/span>\u003c/p>\u003cp>ines unlocked a sense of freedom and possibility for high school student Kavya Jolly. At 16 years old, he is the youngest BAQZF organizer, a role he says alleviates his stress from homework, AP classes, extracurriculars and the SAT. His brows unfurl and his expression relaxes when he discusses his first zine, a biting political satire on communism written in bright red ink that he made during a workshop hosted by McDermott and Nada earlier in the year.\u003c/p>\n\u003cp>Living in the quiet suburbs of Fremont, Jolly normally finds it difficult to connect with peers over the things he cares about: his queerness, radical politics, zine making and art. When he first met Nada and McDermott, he was awestruck.\u003c/p>\n\u003cp>“I was like, ‘Oh my God, these people are so cool,’” Jolly gushes. “I wanted to be them. I think they’re both just really great representations of how zine culture really stresses being your authentic self, and doing what you want to do, and pursuing what you want to pursue.” To Jolly, the two provided more than a creative outlet — they embodied a future that was colorful, alternative and openly queer, something that Jolly aspires to but finds difficult to embrace in his current situation.\u003c/p>\n\u003cp>“I guess my authentic self would be someone who just kind of does whatever they want — which is really hard when you’re 16,” says Jolly. “I’m really excited to be able to hopefully find a community of other people [at the Bay Area Queer Zine Fest] that are like me and who want to talk about things that are usually frowned upon or want to pursue things that are usually discouraged in society.”\u003c/p>\n\u003cfigure id=\"attachment_13921431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921431\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Mari%CC%81a-Queer-Ancestors-Project-image-800x576.png\" alt=\"\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/María-Queer-Ancestors-Project-image-800x576.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/María-Queer-Ancestors-Project-image-1020x735.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/María-Queer-Ancestors-Project-image-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/María-Queer-Ancestors-Project-image-768x553.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/María-Queer-Ancestors-Project-image.png 1508w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist María Valle works on a new print. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similarly, zine making helped artist \u003ca href=\"https://www.instagram.com/stargirlsanctuary/\">María Valle\u003c/a> explore their emerging queerness. After graduating high school during the pandemic, Valle felt stuck: Drawing was once expansive and free-flowing, but they struggled to put anything down on the page. Slowly, they began to express their conflicted feelings about their identity through sculpting, painting and zines. “I think that I’m no longer scared to make art that is messy or that appears ugly, because so much of queer art tends to be like that — and that can be really powerful,” says Valle.\u003c/p>\n\u003cp>In August, Valle joined the \u003ca href=\"https://www.instagram.com/queerancestorsproject/\">Queer Ancestors Project\u003c/a>, an organization dedicated to providing young queer artists with free printmaking workshops, community building and resources about queer history. Valle will represent Queer Ancestors Project at BAQZF, sharing zines that incorporate some of their recent prints. Their work often includes flower and star motifs, symbolizing new pathways that form in the interconnectedness between queer individuals and their ancestors. In a panel discussion on the politics of zine making, they will also discuss the art form’s rich history and persistent punk essence.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">L\u003c/span>\u003c/p>\u003cp>ike Jolly and Valle, cartoonist and BAQZF tabler \u003ca href=\"https://www.instagram.com/nuthingoodat4/\">Avy Jetter\u003c/a> searches for authenticity, vulnerability and representation through her own creativity. Some of her recent zines have covered her journey with grief and the toll that racial microaggressions have had on her health.\u003c/p>\n\u003cp>She studied painting at California College of the Arts in the ’80s but didn’t get into comic book making until a decade ago, when she was in her 40s. In 2012, Jetter created the horror comic \u003ca href=\"https://nuthingoodat4.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Nuthin’ Good Ever Happens at 4 a.m.\u003c/em>\u003c/a> featuring an all Black and brown cast. The story is centered in Oakland, with characters that resemble Jetter’s childhood friends and settings adapted from her observations of the city. She stresses the importance of creating visibility around narratives like her own — even in stories that are bizarre, fictional and seemingly out of reach.\u003c/p>\n\u003cp>“If your future dystopian world doesn’t include any Black people, Brown people, Asian people, disabled people — is that a world you want to live in in the future?” says Jetter. “I always think our art reflects our life. How do people see themselves in the movies you make, the stories you tell? We all should have our voices heard. We have to tell our own stories, because who else will?”\u003c/p>\n\u003cp>In 2016, she began making personal zines that brought her own story and reflections on race, loss and mental health to the forefront. Prior to this, she’d had no interest in being so personal in her work. She was comfortable in the dark, gory landscapes of her comic. But after losing two of her brothers during the pandemic, she turned towards zine making to process her grief and share those difficult emotions with the hope that others could find compassion for themselves in their own lives. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Art sustains me. It heals me,” says Jetter. “It helps me grow as a person and understand stuff outside of art.”\u003c/p>\n\u003cp>This ability to process, reframe and ponder complicated subjects through art is not dissimilar to the way Jolly thinks about his trans identity and politics through satirical commentary, or the way that Valle communicates their coming out process through environmental printmaking. Though their styles and levels of experience are varied, each artist’s work contributes to a zine archive that is expanding with each generation.\u003c/p>\n\u003cp>“You can learn from someone who is doing what you’re doing,” Jetter says.\u003c/p>\n\u003cfigure id=\"attachment_13921432\" class=\"wp-caption aligncenter\" style=\"max-width: 466px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921432\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/img169.jpeg\" alt=\"\" width=\"466\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/img169.jpeg 466w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/img169-160x220.jpeg 160w\" sizes=\"(max-width: 466px) 100vw, 466px\">\u003cfigcaption class=\"wp-caption-text\">A portrait by Avy Jetter. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, a zine holds specific moments — exhalations, stray thoughts and cathartic declarations — and preserves them into small, readable capsules. Describing zines as “blips in time” and “bookmarks” of their life, Nada champions the zine as an ever evolving entity. It’s a practice and a medium, comfort and reclamation.\u003c/p>\n\u003cp>“There’s no reason that zines will ever fall out of fashion, you know? It’s not a trend,” Nada says. “You can make a zine about pit stops to take on your road trips, you can make a zine about food recipes. It encompasses everything but at the same time, is so simple, so direct. It existed before me and it’ll exist after me, and I appreciate that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>The Bay Area Queer Zine Fest takes place Nov. 12-19, kicking off with a zine swap on Saturday Nov. 12 at the Crisis Club Gallery in Oakland. Attendance is free. \u003ca href=\"https://www.instagram.com/baqzf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Find more information about tablers and events here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"title": "Live from Here Highlights",
"info": "Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.",
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"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.",
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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": 13
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
"airtime": "SAT 6pm-7pm, SUN 1am-2am",
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"order": 15
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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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"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",
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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