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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15152697/radiohead\">Radiohead\u003c/a> has officially released 18 hours of demos and outtakes recorded between 1995 and 1998 during the band’s \u003cem>OK Computer \u003c/em>sessions, after the tapes were reportedly stolen and leaked online. In \u003ca href=\"https://www.radiohead.com/deadairspace\">a statement on the group’s website\u003c/a>, guitarist \u003ca href=\"https://www.npr.org/artists/16215159/jonny-greenwood\">Jonny Greenwood\u003c/a> says “We got hacked last week – someone stole Thom [Yorke’s] minidisk archive from around the time of \u003cem>OK Computer \u003c/em>and reportedly demanded $150,000 on threat of releasing it. So instead of complaining – much – or ignoring it, we’re releasing \u003ca href=\"https://radiohead.bandcamp.com/\">all 18 hours on Bandcamp\u003c/a> in aid of Extinction Rebellion.”\u003c/p>\n\u003cp>The 18 tracks of raw audio are identified only by numbers “MD111” through “MD128,” so discovering what songs are actually on the discs will be an Easter egg hunt, though some fans have been cataloging it on a \u003ca href=\"https://docs.google.com/document/d/1kA8u6UhjbutZ-b7TXzmX4qkOTg6nGC1vPg50WwCcZyo/preview\">shared Google doc\u003c/a>. Greenwood says the recordings will only be available for the next 18 days. “Never intended for public consumption (though some clips did reach the cassette in the \u003cem>OK Computer \u003c/em>reissue) it’s only tangentially interesting. And very, very long.”\u003c/p>\n\u003cp>In 2017, Radiohead released a deluxe version of their groundbreaking album that included three previously unreleased songs – “I Promise,” “Lift” and “Man of War” – along with a cassette tape of select demos.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 700px; height: 820px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=540938686/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "aids-activism-san-francisco-1980s",
"title": "While the US Government Sat Idle, AIDS Activism Mobilized in San Francisco",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>By the time the Surgeon General of the United States published the office’s \u003ca href=\"https://profiles.nlm.nih.gov/ps/retrieve/Narrative/NN/p-nid/62\" target=\"_blank\" rel=\"noopener\">first report\u003c/a> on Acquired Immune Deficiency Syndrome, 27,000 Americans were already dead or dying of AIDS.\u003c/p>\n\u003cp>[aside postID='arts_13859162,arts_13858167,arts_13854639' label='More Queer History']\u003c/p>\n\u003cp>Issued in late October 1986, Surgeon General C. Everett Koop’s slim pamphlet contained much-needed public health information stripped of the political rhetoric that characterized nearly all of Washington’s conversations about AIDS—but it was not timely.\u003c/p>\n\u003cp>The report appeared nearly five and a half years after the Centers for Disease Control identified the first patients of what would come to be known as AIDS. In 1981. In the meantime, national media coverage had alternately ignored and sensationalized the epidemic, often repeating misinformation about the disease’s communicability or paying attention only to patients from “the general population” instead of the gay men who were the majority of the early stricken.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>President Ronald Reagan wouldn’t make his first public address on the subject until the end of May 1987.\u003c/p>\n\u003cp>Faced with a lack of either federal leadership or journalistic accountability between the years of the CDC’s first report and Koop’s belated one (and for years after), the task of warning against AIDS, agitating for research funding and educating the public about the epidemic fell to individuals living with AIDS or those caring for them. They created their own support structures, their own pamphlets, benefit parties, newsletters and vigils.\u003c/p>\n\u003cp>Traces of these efforts can be found in the ephemera collections of various Bay Area archives, including the San Francisco Public Library, home to the \u003ca href=\"https://sfpl.org/index.php?pg=2000003701\" target=\"_blank\" rel=\"noopener\">James C. Hormel LGBTQIA Center\u003c/a>. While the posters in these collection—along with flyers, pamphlets, stickers and mailings—in no way tell a complete story of local AIDS activism in the 1980s, they do provide a sense of the material that was circulating during the time, offering tangible proof of a community fighting for its life.\u003c/p>\n\u003cfigure id=\"attachment_13859416\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859416\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Pride_82.jpg\" alt=\"Lesbian/Gay Freedom Day parade and celebration guide. The year's theme was "Out of Many...One."\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Pride_82.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Pride_82-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Pride_82-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Pride_82-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Pride_82-1020x680.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cover of the 1982 International Lesbian/Gay Freedom Day parade and celebration guide. The year’s theme was “Out of Many…One.” \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The KS Poster Boy\u003c/h2>\n\u003cp>Before people suffering from weakened immune systems and opportunistic infections were grouped under the moniker of AIDS (the CDC would first use this term in September 1982), a unifying diagnosis for many early patients was \u003ca href=\"https://aidsinfo.nih.gov/education-materials/glossary/401/kaposi-sarcoma\" target=\"_blank\" rel=\"noopener\">Kaposi’s sarcoma\u003c/a> (KS), a rare and unusually aggressive skin cancer that appeared as purplish lesions. San Francisco resident and registered nurse \u003ca href=\"https://en.wikipedia.org/wiki/Bobbi_Campbell\" target=\"_blank\" rel=\"noopener\">Bobbi Campbell\u003c/a> was the first KS patient to go public with his condition, with a December 1981 article in the nationally syndicated gay newspaper \u003ci>San Francisco Sentinel\u003c/i>. At the same time, he convinced a Castro drugstore to hang photographs of his lesions in the window, showing other men what to look for as he alerted them to the reality of this new disease.\u003c/p>\n\u003cp>Campbell appears in the 1982 International Lesbian/Gay Freedom Day guide (as the Pride parade was then known) under the headline “What’s it like to have Kaposi’s sarcoma?,” the first mention of the AIDS in the annual celebration’s materials.\u003c/p>\n\u003cp>In his short column, the self-proclaimed “KS Poster Boy” strikes an optimistic tone of warning: “Are you thinking ‘This can’t happen to me’? I didn’t think it could happen to me, either. But it did.”\u003c/p>\n\u003cp>Alongside Campbell’s feature is a dry, much more clinical text authored by two registered nurses. “Something is breaking down the immune systems of certain gay men, leaving them susceptible to disease,” they write. “In general it is crucial to take care of yourself, in this time when far too many gay men are dying of unexplained causes.”\u003c/p>\n\u003cp>In 1985, the parade would be dedicated to Campbell, who died in August 1984.\u003c/p>\n\u003cfigure id=\"attachment_13859419\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859419\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B.jpg\" alt='\"Can we talk?\" brochure developed by the AIDS Education and Information Committee of the Harvey Milk Gay Democratic club with information from Bay Area Physicians for Human Rights, 1983.' width=\"1200\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B-800x384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B-768x369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B-1020x490.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">“Can we talk?” brochure developed by the AIDS Education and Information Committee of the Harvey Milk Gay Democratic club with information from Bay Area Physicians for Human Rights, 1983. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘We are fighting for our lives’\u003c/h2>\n\u003cp>In early 1983, with San Francisco’s Department of Public Health yet to produce a single piece of informational literature on AIDS, the \u003ca href=\"http://www.milkclub.org/about\" target=\"_blank\" rel=\"noopener\">Harvey Milk Gay Democratic Club\u003c/a> took matters into its own hands. Developed with information from Bay Area Physicians for Human Rights, this frank and simple brochure provided what was, at the time, the best risk-reduction guidelines available to the gay community.\u003c/p>\n\u003cp>“We don’t have to give up sex, but we do have to be careful,” the brochure reads. It then proceeds to go step by step through various sex acts, defining them as “very risky,” “minimal risk” or “yes! yes! yes!” (hugging and other sensual, yet nonsexual, activities), all of which is illustrated by a series of charmingly cheeky cartoons.\u003c/p>\n\u003cp>“In this time of crisis, it is essential that we reexamine our ways of sexual expression,” the brochure says. “The issue is not a moral one, but a practical one. We have fought for our freedom and intend to continue that fight, but this struggle is even more basic. We are fighting for our lives.”\u003c/p>\n\u003cfigure id=\"attachment_13859418\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859418\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/AssortedPamphlets.jpg\" alt=\"Sex education and risk-reduction pamphlets from the 1980s, many produced by the San Francisco AIDS Foundation.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AssortedPamphlets.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AssortedPamphlets-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AssortedPamphlets-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AssortedPamphlets-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AssortedPamphlets-1020x680.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sex education and risk-reduction pamphlets from the 1980s, many produced by the San Francisco AIDS Foundation. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Spreading the word\u003c/h2>\n\u003cp>The archives are filled with pamphlets and brochures, many targeting specific demographics affected by the AIDS epidemic, but not necessarily those seen in earliest media reports: white gay men. Most of the above pamphlets come from the late ’80s, well after the early days of panic, disinformation and denial, when safe sex suggestions might be dismissed as moralistic, homophobic messages.\u003c/p>\n\u003cp>Several of the above were published by the \u003ca href=\"https://www.sfaf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco AIDS Foundation\u003c/a>, co-founded by Cleve Jones in 1982 (as the Kaposi’s Sarcoma Foundation) in response to the city’s emerging health crisis. Described in Randy Shilts’ seminal text on the AIDS epidemic, \u003ci>And the Band Played On\u003c/i>, the early days of the SF AIDS Foundation “started with one beat-up typewriter donated by a local gay bartender, office supplies pilfered from volunteers’ various employers, and one telephone that started ringing within an hour of hits installation. And it never stopped ringing.”\u003c/p>\n\u003cp>As it grew, the SF AIDS Foundation sponsored condom distribution during Pride, the first public demonstration of people with AIDS (a candlelight vigil in March 1983), the first AIDS bike-a-thon, the creation of a food bank, a needle exchange and many, many trifolded pieces of educational literature.\u003c/p>\n\u003cfigure id=\"attachment_13859417\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859417\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction.jpg\" alt=\"Cover of the ACT UP San Francisco newsletter, March 1989, featuring a short announcement of a Jan. 31 action on the Golden Gate Bridge.\" width=\"1200\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction-1020x632.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cover of the ACT UP San Francisco newsletter, March 1989, featuring a short announcement of a Jan. 31 action on the Golden Gate Bridge. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>ACT UP/San Francisco\u003c/h2>\n\u003cp>Formed in New York in 1987 after a galvanizing speech by Larry Kramer at the Lesbian and Gay Community Services Center, the \u003ca href=\"http://www.actupny.org/\" rel=\"noopener\" target=\"_blank\">AIDS Coalition to Unleash Power\u003c/a> (ACT UP), was a leaderless, anarchic network of direct action protest groups that eventually spread around the world. In San Francisco, an existing activist group, AIDS Action Pledge, merged with ACT UP and changed its name to become ACT UP/San Francisco.\u003c/p>\n\u003cp>In an undated pamphlet titled “Our Goals and Demands,” the group, “united in anger and hope,” argues for “massive governmental funding for research, health care, education, anonymous testing, and treatment.” That funding, they reason, should be taken from the military budget.\u003c/p>\n\u003cp>On Jan. 20, 1989, ACT UP/SF members staged \u003ca href=\"https://www.youtube.com/watch?v=H3zefhq9Ql4\" target=\"_blank\" rel=\"noopener\">a die-in\u003c/a> at the Pacific Stock Exchange, timed to George H.W. Bush’s inauguration in Washington, D.C. As activists sprawled on the ground, fellow members traced their outlines in chalk. Speaking through a megaphone, an ACT UP member named Brigid spoke to the assembled crowd, “This government, for the past eight years, has been known for what it has not done. It has not cared about people with AIDS. We have been expendable.” The question was: What, if anything, would President Bush do differently?\u003c/p>\n\u003cp>ACT UP/San Francisco would stage many other demonstrations, including a week of actions timed to the Sixth International Conference on AIDS, which took place in San Francisco in June 1990. Journalist and activist Tim Kingston, who participated in these events, told \u003ci>\u003ca href=\"https://48hills.org/2015/06/the-week-act-up-shut-sf-down/\" target=\"_blank\" rel=\"noopener\">48 Hills\u003c/a>\u003c/i> in 2015, “If ACT UP hadn’t pushed so hard, AIDS medical research would be 20 years behind.”\u003c/p>\n\u003cp>“In ’87, no one had heard of ACT UP. In ’89, we were banging on the door. And in ’90, we had arrived full-scale.”\u003c/p>\n\u003cfigure id=\"attachment_13859420\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859420\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ShantiProject.jpg\" alt=\"An undated Shanti Project pamphlet; the summer 1984 issue of 'Eclipse,' the Shanti Project newsletter; a flyer for a 1989 comedy showcase benefitting the Shanti Project, featuring Margaret Cho.\" width=\"1200\" height=\"865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ShantiProject.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ShantiProject-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ShantiProject-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ShantiProject-768x554.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ShantiProject-1020x735.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An undated Shanti Project pamphlet; the summer 1984 issue of ‘Eclipse,’ the Shanti Project newsletter; a flyer for a 1989 comedy showcase benefitting the Shanti Project, featuring Margaret Cho. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shanti Project\u003c/h2>\n\u003cp>Callers to the SF AIDS Foundation hotline might be directed to the \u003ca href=\"http://www.shanti.org/\" target=\"_blank\" rel=\"noopener\">Shanti Project\u003c/a>, a Berkeley organization founded in 1974 to enhance the health, quality of life and well-being of people with terminal, life-threatening or disabling illnesses. In 1982, Bobbi Campbell and Jim Geary, a volunteer grief counselor with the Shanti Project, offered weekly meetings for Karposi’s sarcoma patients, one of the only services available at the time to those who would later be understood as people with AIDS.\u003c/p>\n\u003cp>In May 1983, the San Francisco Board of Supervisors approved $2.1 million for the city’s early AIDS programs, providing enough money to the Shanti Project to create residences for 48 homeless AIDS patients. (This amount, Shilts wrote in \u003ci>And the Band Played On\u003c/i>, combined with an additional $1 million enacted for AIDS in 1982, meant spending by the city of San Francisco “exceeded the funds released to the entire country by the National Institutes of Health for extramural AIDS research.”)\u003c/p>\n\u003cp>In the above 1984 issue of \u003ci>Eclipse\u003c/i>, the Shanti Project newsletter, registered nurse Helen Schietinger writes of the project’s success in helping people approach the end of their lives with dignity: “For many, the Shanti Residence Program has provided the stability and security which enables them to continue living their lives focused on what is important to them, rather than worrying about whether they have a roof over their heads.”\u003c/p>\n\u003cfigure id=\"attachment_13859422\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859422\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/DNCMarch_84.jpg\" alt=\"Pamphlet announcing the National March for Lesbian/Gay Rights, to coincide with the Democratic National Convention in San Francisco, 1984.\" width=\"1200\" height=\"770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DNCMarch_84.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DNCMarch_84-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DNCMarch_84-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DNCMarch_84-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DNCMarch_84-1020x655.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Pamphlet announcing the National March for Lesbian/Gay Rights, to coincide with the Democratic National Convention in San Francisco, 1984. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Confronting the Democratic Party\u003c/h2>\n\u003cp>In 1984, the Democratic National Convention took place in San Francisco, and the city’s LGBTQ+ population marched for their core issues. At the top of their list? “Immediate and massive federal funding to end the AIDS epidemic.”\u003c/p>\n\u003cp>In a two-mile march from the Castro to the Moscone Center, 100,000 people filled the street, hoping to create a scene that would reach the national media and bring gay and lesbian issues to the rest of the country.\u003c/p>\n\u003cp>“At the 1984 Convention,” the organizing documents read, “we have an opportunity to define our own issues and choose our own spokespeople. If we do not do this, the media, which will surely write ‘the gay story’ of this convention, will make our choices for us.”\u003c/p>\n\u003cp>In a classic San Francisco note, alongside route logistics and an entertainment lineup (comedy from Tom Ammiano), is the following: “Bring a sweater—weather changes quickly in S.F.”\u003c/p>\n\u003cfigure id=\"attachment_13859423\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/NAMES.jpg\" alt=\"A NAMES Project flyer from 1988 and the NAMES newsletter from fall 1989.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/NAMES.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/NAMES-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/NAMES-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/NAMES-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/NAMES-1020x765.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A NAMES Project flyer from 1988 and the NAMES newsletter from fall 1989. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The AIDS Memorial Quilt\u003c/h2>\n\u003cp>While the \u003ca href=\"https://www.kqed.org/arts/13856309/how-the-aids-memorial-grove-became-the-true-heart-of-san-francisco\" target=\"_blank\" rel=\"noopener\">AIDS Memorial Grove\u003c/a> in Golden Gate Park is the nation’s official site of remembrance, the \u003ca href=\"https://www.aidsquilt.org/\" target=\"_blank\" rel=\"noopener\">AIDS Memorial Quilt\u003c/a>, a project that began in 1987 and now numbers over 48,000 individual panels, is its peripatetic one.\u003c/p>\n\u003cp>Each panel measures 3 by 6 feet, the approximate size of a grave. And each commemorates a family member or loved one lost to AIDS, hand-stitched with personal symbols, objects, names and dates. The first public display, in October 1987, took place on the Capitol Mall in Washington, D.C. with 1,920 panels. A year later, the quilt returned to Washington with more than 8,000 panels. Its goal was to impress upon the federal government—and the American people—the scale of the AIDS epidemic, and the desperate need for increased federal funds in the fight against it.\u003c/p>\n\u003cp>The brochure reads, “With the Quilt, we’re able to touch people in a new way and open their hearts so that they no longer turn away, but rather understand the value of all these lost lives.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>By the end of the 1980s, nine years after the CDC’s first reported cases, nearly 90,000 Americans had died of AIDS. Many more groups would form in the years to come to fight for more effective AIDS treatments and against the slow-moving bureaucracy that stifled such research. And many more actions would \u003ca href=\"https://youtu.be/hvKAIPOBWlY\" rel=\"noopener\" target=\"_blank\">directly confront the American public\u003c/a> with the scale of the crisis, skillfully using media coverage to amplify their message. But when no one was watching—or seemingly caring—the efforts of individuals and groups like those documented above made sure the American people and their government could no longer turn away from AIDS.\u003c/p>\n\n",
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"excerpt": "Battling homophobia and government inaction, LGBTQ+ San Franciscans built systems of support and education from the ground up.",
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"title": "While the US Government Sat Idle, AIDS Activism Mobilized in San Francisco | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>By the time the Surgeon General of the United States published the office’s \u003ca href=\"https://profiles.nlm.nih.gov/ps/retrieve/Narrative/NN/p-nid/62\" target=\"_blank\" rel=\"noopener\">first report\u003c/a> on Acquired Immune Deficiency Syndrome, 27,000 Americans were already dead or dying of AIDS.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Issued in late October 1986, Surgeon General C. Everett Koop’s slim pamphlet contained much-needed public health information stripped of the political rhetoric that characterized nearly all of Washington’s conversations about AIDS—but it was not timely.\u003c/p>\n\u003cp>The report appeared nearly five and a half years after the Centers for Disease Control identified the first patients of what would come to be known as AIDS. In 1981. In the meantime, national media coverage had alternately ignored and sensationalized the epidemic, often repeating misinformation about the disease’s communicability or paying attention only to patients from “the general population” instead of the gay men who were the majority of the early stricken.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>President Ronald Reagan wouldn’t make his first public address on the subject until the end of May 1987.\u003c/p>\n\u003cp>Faced with a lack of either federal leadership or journalistic accountability between the years of the CDC’s first report and Koop’s belated one (and for years after), the task of warning against AIDS, agitating for research funding and educating the public about the epidemic fell to individuals living with AIDS or those caring for them. They created their own support structures, their own pamphlets, benefit parties, newsletters and vigils.\u003c/p>\n\u003cp>Traces of these efforts can be found in the ephemera collections of various Bay Area archives, including the San Francisco Public Library, home to the \u003ca href=\"https://sfpl.org/index.php?pg=2000003701\" target=\"_blank\" rel=\"noopener\">James C. Hormel LGBTQIA Center\u003c/a>. While the posters in these collection—along with flyers, pamphlets, stickers and mailings—in no way tell a complete story of local AIDS activism in the 1980s, they do provide a sense of the material that was circulating during the time, offering tangible proof of a community fighting for its life.\u003c/p>\n\u003cfigure id=\"attachment_13859416\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859416\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Pride_82.jpg\" alt=\"Lesbian/Gay Freedom Day parade and celebration guide. The year's theme was "Out of Many...One."\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Pride_82.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Pride_82-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Pride_82-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Pride_82-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Pride_82-1020x680.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cover of the 1982 International Lesbian/Gay Freedom Day parade and celebration guide. The year’s theme was “Out of Many…One.” \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The KS Poster Boy\u003c/h2>\n\u003cp>Before people suffering from weakened immune systems and opportunistic infections were grouped under the moniker of AIDS (the CDC would first use this term in September 1982), a unifying diagnosis for many early patients was \u003ca href=\"https://aidsinfo.nih.gov/education-materials/glossary/401/kaposi-sarcoma\" target=\"_blank\" rel=\"noopener\">Kaposi’s sarcoma\u003c/a> (KS), a rare and unusually aggressive skin cancer that appeared as purplish lesions. San Francisco resident and registered nurse \u003ca href=\"https://en.wikipedia.org/wiki/Bobbi_Campbell\" target=\"_blank\" rel=\"noopener\">Bobbi Campbell\u003c/a> was the first KS patient to go public with his condition, with a December 1981 article in the nationally syndicated gay newspaper \u003ci>San Francisco Sentinel\u003c/i>. At the same time, he convinced a Castro drugstore to hang photographs of his lesions in the window, showing other men what to look for as he alerted them to the reality of this new disease.\u003c/p>\n\u003cp>Campbell appears in the 1982 International Lesbian/Gay Freedom Day guide (as the Pride parade was then known) under the headline “What’s it like to have Kaposi’s sarcoma?,” the first mention of the AIDS in the annual celebration’s materials.\u003c/p>\n\u003cp>In his short column, the self-proclaimed “KS Poster Boy” strikes an optimistic tone of warning: “Are you thinking ‘This can’t happen to me’? I didn’t think it could happen to me, either. But it did.”\u003c/p>\n\u003cp>Alongside Campbell’s feature is a dry, much more clinical text authored by two registered nurses. “Something is breaking down the immune systems of certain gay men, leaving them susceptible to disease,” they write. “In general it is crucial to take care of yourself, in this time when far too many gay men are dying of unexplained causes.”\u003c/p>\n\u003cp>In 1985, the parade would be dedicated to Campbell, who died in August 1984.\u003c/p>\n\u003cfigure id=\"attachment_13859419\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859419\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B.jpg\" alt='\"Can we talk?\" brochure developed by the AIDS Education and Information Committee of the Harvey Milk Gay Democratic club with information from Bay Area Physicians for Human Rights, 1983.' width=\"1200\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B-800x384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B-768x369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B-1020x490.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">“Can we talk?” brochure developed by the AIDS Education and Information Committee of the Harvey Milk Gay Democratic club with information from Bay Area Physicians for Human Rights, 1983. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘We are fighting for our lives’\u003c/h2>\n\u003cp>In early 1983, with San Francisco’s Department of Public Health yet to produce a single piece of informational literature on AIDS, the \u003ca href=\"http://www.milkclub.org/about\" target=\"_blank\" rel=\"noopener\">Harvey Milk Gay Democratic Club\u003c/a> took matters into its own hands. Developed with information from Bay Area Physicians for Human Rights, this frank and simple brochure provided what was, at the time, the best risk-reduction guidelines available to the gay community.\u003c/p>\n\u003cp>“We don’t have to give up sex, but we do have to be careful,” the brochure reads. It then proceeds to go step by step through various sex acts, defining them as “very risky,” “minimal risk” or “yes! yes! yes!” (hugging and other sensual, yet nonsexual, activities), all of which is illustrated by a series of charmingly cheeky cartoons.\u003c/p>\n\u003cp>“In this time of crisis, it is essential that we reexamine our ways of sexual expression,” the brochure says. “The issue is not a moral one, but a practical one. We have fought for our freedom and intend to continue that fight, but this struggle is even more basic. We are fighting for our lives.”\u003c/p>\n\u003cfigure id=\"attachment_13859418\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859418\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/AssortedPamphlets.jpg\" alt=\"Sex education and risk-reduction pamphlets from the 1980s, many produced by the San Francisco AIDS Foundation.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AssortedPamphlets.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AssortedPamphlets-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AssortedPamphlets-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AssortedPamphlets-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AssortedPamphlets-1020x680.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sex education and risk-reduction pamphlets from the 1980s, many produced by the San Francisco AIDS Foundation. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Spreading the word\u003c/h2>\n\u003cp>The archives are filled with pamphlets and brochures, many targeting specific demographics affected by the AIDS epidemic, but not necessarily those seen in earliest media reports: white gay men. Most of the above pamphlets come from the late ’80s, well after the early days of panic, disinformation and denial, when safe sex suggestions might be dismissed as moralistic, homophobic messages.\u003c/p>\n\u003cp>Several of the above were published by the \u003ca href=\"https://www.sfaf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco AIDS Foundation\u003c/a>, co-founded by Cleve Jones in 1982 (as the Kaposi’s Sarcoma Foundation) in response to the city’s emerging health crisis. Described in Randy Shilts’ seminal text on the AIDS epidemic, \u003ci>And the Band Played On\u003c/i>, the early days of the SF AIDS Foundation “started with one beat-up typewriter donated by a local gay bartender, office supplies pilfered from volunteers’ various employers, and one telephone that started ringing within an hour of hits installation. And it never stopped ringing.”\u003c/p>\n\u003cp>As it grew, the SF AIDS Foundation sponsored condom distribution during Pride, the first public demonstration of people with AIDS (a candlelight vigil in March 1983), the first AIDS bike-a-thon, the creation of a food bank, a needle exchange and many, many trifolded pieces of educational literature.\u003c/p>\n\u003cfigure id=\"attachment_13859417\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859417\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction.jpg\" alt=\"Cover of the ACT UP San Francisco newsletter, March 1989, featuring a short announcement of a Jan. 31 action on the Golden Gate Bridge.\" width=\"1200\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction-1020x632.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cover of the ACT UP San Francisco newsletter, March 1989, featuring a short announcement of a Jan. 31 action on the Golden Gate Bridge. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>ACT UP/San Francisco\u003c/h2>\n\u003cp>Formed in New York in 1987 after a galvanizing speech by Larry Kramer at the Lesbian and Gay Community Services Center, the \u003ca href=\"http://www.actupny.org/\" rel=\"noopener\" target=\"_blank\">AIDS Coalition to Unleash Power\u003c/a> (ACT UP), was a leaderless, anarchic network of direct action protest groups that eventually spread around the world. In San Francisco, an existing activist group, AIDS Action Pledge, merged with ACT UP and changed its name to become ACT UP/San Francisco.\u003c/p>\n\u003cp>In an undated pamphlet titled “Our Goals and Demands,” the group, “united in anger and hope,” argues for “massive governmental funding for research, health care, education, anonymous testing, and treatment.” That funding, they reason, should be taken from the military budget.\u003c/p>\n\u003cp>On Jan. 20, 1989, ACT UP/SF members staged \u003ca href=\"https://www.youtube.com/watch?v=H3zefhq9Ql4\" target=\"_blank\" rel=\"noopener\">a die-in\u003c/a> at the Pacific Stock Exchange, timed to George H.W. Bush’s inauguration in Washington, D.C. As activists sprawled on the ground, fellow members traced their outlines in chalk. Speaking through a megaphone, an ACT UP member named Brigid spoke to the assembled crowd, “This government, for the past eight years, has been known for what it has not done. It has not cared about people with AIDS. We have been expendable.” The question was: What, if anything, would President Bush do differently?\u003c/p>\n\u003cp>ACT UP/San Francisco would stage many other demonstrations, including a week of actions timed to the Sixth International Conference on AIDS, which took place in San Francisco in June 1990. Journalist and activist Tim Kingston, who participated in these events, told \u003ci>\u003ca href=\"https://48hills.org/2015/06/the-week-act-up-shut-sf-down/\" target=\"_blank\" rel=\"noopener\">48 Hills\u003c/a>\u003c/i> in 2015, “If ACT UP hadn’t pushed so hard, AIDS medical research would be 20 years behind.”\u003c/p>\n\u003cp>“In ’87, no one had heard of ACT UP. In ’89, we were banging on the door. And in ’90, we had arrived full-scale.”\u003c/p>\n\u003cfigure id=\"attachment_13859420\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859420\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ShantiProject.jpg\" alt=\"An undated Shanti Project pamphlet; the summer 1984 issue of 'Eclipse,' the Shanti Project newsletter; a flyer for a 1989 comedy showcase benefitting the Shanti Project, featuring Margaret Cho.\" width=\"1200\" height=\"865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ShantiProject.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ShantiProject-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ShantiProject-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ShantiProject-768x554.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ShantiProject-1020x735.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An undated Shanti Project pamphlet; the summer 1984 issue of ‘Eclipse,’ the Shanti Project newsletter; a flyer for a 1989 comedy showcase benefitting the Shanti Project, featuring Margaret Cho. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shanti Project\u003c/h2>\n\u003cp>Callers to the SF AIDS Foundation hotline might be directed to the \u003ca href=\"http://www.shanti.org/\" target=\"_blank\" rel=\"noopener\">Shanti Project\u003c/a>, a Berkeley organization founded in 1974 to enhance the health, quality of life and well-being of people with terminal, life-threatening or disabling illnesses. In 1982, Bobbi Campbell and Jim Geary, a volunteer grief counselor with the Shanti Project, offered weekly meetings for Karposi’s sarcoma patients, one of the only services available at the time to those who would later be understood as people with AIDS.\u003c/p>\n\u003cp>In May 1983, the San Francisco Board of Supervisors approved $2.1 million for the city’s early AIDS programs, providing enough money to the Shanti Project to create residences for 48 homeless AIDS patients. (This amount, Shilts wrote in \u003ci>And the Band Played On\u003c/i>, combined with an additional $1 million enacted for AIDS in 1982, meant spending by the city of San Francisco “exceeded the funds released to the entire country by the National Institutes of Health for extramural AIDS research.”)\u003c/p>\n\u003cp>In the above 1984 issue of \u003ci>Eclipse\u003c/i>, the Shanti Project newsletter, registered nurse Helen Schietinger writes of the project’s success in helping people approach the end of their lives with dignity: “For many, the Shanti Residence Program has provided the stability and security which enables them to continue living their lives focused on what is important to them, rather than worrying about whether they have a roof over their heads.”\u003c/p>\n\u003cfigure id=\"attachment_13859422\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859422\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/DNCMarch_84.jpg\" alt=\"Pamphlet announcing the National March for Lesbian/Gay Rights, to coincide with the Democratic National Convention in San Francisco, 1984.\" width=\"1200\" height=\"770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DNCMarch_84.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DNCMarch_84-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DNCMarch_84-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DNCMarch_84-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DNCMarch_84-1020x655.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Pamphlet announcing the National March for Lesbian/Gay Rights, to coincide with the Democratic National Convention in San Francisco, 1984. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Confronting the Democratic Party\u003c/h2>\n\u003cp>In 1984, the Democratic National Convention took place in San Francisco, and the city’s LGBTQ+ population marched for their core issues. At the top of their list? “Immediate and massive federal funding to end the AIDS epidemic.”\u003c/p>\n\u003cp>In a two-mile march from the Castro to the Moscone Center, 100,000 people filled the street, hoping to create a scene that would reach the national media and bring gay and lesbian issues to the rest of the country.\u003c/p>\n\u003cp>“At the 1984 Convention,” the organizing documents read, “we have an opportunity to define our own issues and choose our own spokespeople. If we do not do this, the media, which will surely write ‘the gay story’ of this convention, will make our choices for us.”\u003c/p>\n\u003cp>In a classic San Francisco note, alongside route logistics and an entertainment lineup (comedy from Tom Ammiano), is the following: “Bring a sweater—weather changes quickly in S.F.”\u003c/p>\n\u003cfigure id=\"attachment_13859423\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/NAMES.jpg\" alt=\"A NAMES Project flyer from 1988 and the NAMES newsletter from fall 1989.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/NAMES.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/NAMES-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/NAMES-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/NAMES-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/NAMES-1020x765.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A NAMES Project flyer from 1988 and the NAMES newsletter from fall 1989. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The AIDS Memorial Quilt\u003c/h2>\n\u003cp>While the \u003ca href=\"https://www.kqed.org/arts/13856309/how-the-aids-memorial-grove-became-the-true-heart-of-san-francisco\" target=\"_blank\" rel=\"noopener\">AIDS Memorial Grove\u003c/a> in Golden Gate Park is the nation’s official site of remembrance, the \u003ca href=\"https://www.aidsquilt.org/\" target=\"_blank\" rel=\"noopener\">AIDS Memorial Quilt\u003c/a>, a project that began in 1987 and now numbers over 48,000 individual panels, is its peripatetic one.\u003c/p>\n\u003cp>Each panel measures 3 by 6 feet, the approximate size of a grave. And each commemorates a family member or loved one lost to AIDS, hand-stitched with personal symbols, objects, names and dates. The first public display, in October 1987, took place on the Capitol Mall in Washington, D.C. with 1,920 panels. A year later, the quilt returned to Washington with more than 8,000 panels. Its goal was to impress upon the federal government—and the American people—the scale of the AIDS epidemic, and the desperate need for increased federal funds in the fight against it.\u003c/p>\n\u003cp>The brochure reads, “With the Quilt, we’re able to touch people in a new way and open their hearts so that they no longer turn away, but rather understand the value of all these lost lives.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the end of the 1980s, nine years after the CDC’s first reported cases, nearly 90,000 Americans had died of AIDS. Many more groups would form in the years to come to fight for more effective AIDS treatments and against the slow-moving bureaucracy that stifled such research. And many more actions would \u003ca href=\"https://youtu.be/hvKAIPOBWlY\" rel=\"noopener\" target=\"_blank\">directly confront the American public\u003c/a> with the scale of the crisis, skillfully using media coverage to amplify their message. But when no one was watching—or seemingly caring—the efforts of individuals and groups like those documented above made sure the American people and their government could no longer turn away from AIDS.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Diaspora in Bloom: Assyrian-American Art on View in San Jose",
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"content": "\u003cp>How much do you know about Assyrians? For many Americans, it’s news we have members of the ancient Middle Eastern ethnic group living here in the U.S. today.\u003c/p>\n\u003cp>Members of the Assyrian diaspora are spread out all over world, most in Iraq, Syria, Turkey and Iran. But conflicts \u003ca href=\"https://www.csmonitor.com/World/Middle-East/2019/0410/In-northeast-Syria-a-Christian-community-fights-for-survival\" target=\"_blank\" rel=\"noopener\">modern\u003c/a>, \u003ca href=\"https://www.bbc.co.uk/sounds/play/b00b7r71\" target=\"_blank\" rel=\"noopener\">ancient\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Assyrian_genocide\" target=\"_blank\" rel=\"noopener\">in between\u003c/a> forced hundreds of thousands of predominantly Christian Assyrians to move further afield, and the most recent figures from the U.S. Census Bureau estimate roughly 100,000 live in the United States.\u003c/p>\n\u003cp>\u003ca href=\"https://www.svlg.org/about-us/our-staff/nardin-sarkis/\" target=\"_blank\" rel=\"noopener\">Nardin Sarkis\u003c/a> works in government relations at the Silicon Valley Leadership Group. He estimates 10,000 Assyrians live in this region alone. So it was he got to chatting with fellow Assyrian-American \u003ca href=\"https://www.plugandplaytechcenter.com/about/our-team/akadina-yadegar/\" target=\"_blank\" rel=\"noopener\">Akadina Yadegar\u003c/a>, who works at Plug and Play Tech Center, about the dearth of modern Assyrian art in museums and galleries.\u003c/p>\n\u003cp>Ancient art there’s plenty of. The Assyrian Empire of Mesopotamia flourished some 4,000 years ago. At its peak, the empire stretched from Cyprus to Iran, from present-day Armenia and Azerbaijan to the Arabian Peninsula, Egypt and eastern Libya.\u003c/p>\n\u003cp>Assyrian kings spent some of their fabulous wealth on palaces full of art, including iconic, muscular stonework. Archeologists continue to pour over the details of of the empire’s sophisticated bureaucracy, detailed in durable clay cuneiform tablets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=7pa54hWROpQ][aside postID='news_10796779,news_2359,forum_2010101859436' label='Related Coverage']All of that said, Assyrians didn’t stop making art after that empire collapsed.\u003c/p>\n\u003cp>Neither Sarkis nor Yadegar is a professional art curator. But they wanted to show their own community and the wider Bay Area community that Assyrians have “more to offer” the world of visual arts than their admittedly impressive heritage from ancient times.\u003c/p>\n\u003cp>“The goal for the exhibit itself is to elevate the modern over the ancient, celebrate present Assyrian artists who are looking at contemporary issues,” explains Yadegar.\u003c/p>\n\u003cp>These two Millennials went looking — where else? — on Instagram, and found artists like \u003ca href=\"https://www.instagram.com/atra.givarkes/\" target=\"_blank\" rel=\"noopener\">Atra Givarkes\u003c/a> of Orange County, who gives neo-Aramaic calligraphy a bright, pop art face lift.\u003c/p>\n\u003cfigure id=\"attachment_13859296\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy.jpeg\" alt=\"Tablet Series by artist Atra Givarkes\" width=\"2048\" height=\"1074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-800x419.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-768x403.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1020x535.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1200x629.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1920x1006.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Tablet Series by artist Atra Givarkes \u003ccite>(Courtesy of Megan White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s \u003ca href=\"http://www.estherestheresther.com/index.html\" target=\"_blank\" rel=\"noopener\">Esther Elia\u003c/a> of San Francisco, who works in multiple mediums. Some of her most striking contributions to this show include paintings she based on her family’s photographs from the early 20th century.\u003c/p>\n\u003cp>Elia explores the refugee experience both as a psychological journey for generations of Assyrian-Americans, and as an emotionally laden lens through which to view the current state of anti-immigration sentiment in the United States and Western Europe.\u003c/p>\n\u003cp>“Assyrians that were forced out of their lands and came to America for a new life as so many do; came as refugees and look what we’ve created. We’ve created art. We’ve created culture to give back to our community,” Sarkis said.\u003c/p>\n\u003cfigure id=\"attachment_13859297\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859297\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM.jpeg\" alt=\"Artist Esther Elia writes, "The picture shows my great-grandfather side by side with his brothers, all refugees fresh from Iran. While in Denmark recently, a taxi driver helpfully informed us that 'the refugees ruined Sweden.' What he said as pragmatic fact struck me as a personal rejection of my own people. It ultimately led me to ask, 'At what cost does the happiest place in the world maintain itself?'" Acrylic on canvas, 2018.\" width=\"2048\" height=\"1916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-160x150.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-800x749.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-768x719.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1020x954.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1200x1123.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1920x1797.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Artist Esther Elia writes, “The picture shows my great-grandfather side by side with his brothers, all refugees fresh from Iran. While in Denmark recently, a taxi driver helpfully informed us that ‘the refugees ruined Sweden.’ What he said as pragmatic fact struck me as a personal rejection of my own people. It ultimately led me to ask, ‘At what cost does the happiest place in the world maintain itself?'” Acrylic on canvas, 2018. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to argue, observing more than 30 works of painting, photography, pottery, graphic design and video in this exhibition.\u003c/p>\n\u003cp>It took the two amateur curators a year to put \u003cem>Diaspora in Bloom\u003c/em> together. Naturally, I ask if they’re game to do something like this again. Yadegar pauses for a moment, smiling.\u003c/p>\n\u003cp>“It’s possible,” she replies.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Diaspora in Bloom: \u003c/strong>\u003cstrong>Assyrians in the 20th Century & Beyond\u003c/strong>\u003c/em>\u003cem>\u003cstrong> \u003c/strong>runs June 1, 7, 8 & 14: 6pm-9pm and June 2,9 & 15 noon-4pm at \u003ca href=\"https://www.artarkgallery.com\" target=\"_blank\" rel=\"noopener\">Art Ark Gallery\u003c/a> in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://www.artarkgallery.com/current.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How much do you know about Assyrians? For many Americans, it’s news we have members of the ancient Middle Eastern ethnic group living here in the U.S. today.\u003c/p>\n\u003cp>Members of the Assyrian diaspora are spread out all over world, most in Iraq, Syria, Turkey and Iran. But conflicts \u003ca href=\"https://www.csmonitor.com/World/Middle-East/2019/0410/In-northeast-Syria-a-Christian-community-fights-for-survival\" target=\"_blank\" rel=\"noopener\">modern\u003c/a>, \u003ca href=\"https://www.bbc.co.uk/sounds/play/b00b7r71\" target=\"_blank\" rel=\"noopener\">ancient\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Assyrian_genocide\" target=\"_blank\" rel=\"noopener\">in between\u003c/a> forced hundreds of thousands of predominantly Christian Assyrians to move further afield, and the most recent figures from the U.S. Census Bureau estimate roughly 100,000 live in the United States.\u003c/p>\n\u003cp>\u003ca href=\"https://www.svlg.org/about-us/our-staff/nardin-sarkis/\" target=\"_blank\" rel=\"noopener\">Nardin Sarkis\u003c/a> works in government relations at the Silicon Valley Leadership Group. He estimates 10,000 Assyrians live in this region alone. So it was he got to chatting with fellow Assyrian-American \u003ca href=\"https://www.plugandplaytechcenter.com/about/our-team/akadina-yadegar/\" target=\"_blank\" rel=\"noopener\">Akadina Yadegar\u003c/a>, who works at Plug and Play Tech Center, about the dearth of modern Assyrian art in museums and galleries.\u003c/p>\n\u003cp>Ancient art there’s plenty of. The Assyrian Empire of Mesopotamia flourished some 4,000 years ago. At its peak, the empire stretched from Cyprus to Iran, from present-day Armenia and Azerbaijan to the Arabian Peninsula, Egypt and eastern Libya.\u003c/p>\n\u003cp>Assyrian kings spent some of their fabulous wealth on palaces full of art, including iconic, muscular stonework. Archeologists continue to pour over the details of of the empire’s sophisticated bureaucracy, detailed in durable clay cuneiform tablets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All of that said, Assyrians didn’t stop making art after that empire collapsed.\u003c/p>\n\u003cp>Neither Sarkis nor Yadegar is a professional art curator. But they wanted to show their own community and the wider Bay Area community that Assyrians have “more to offer” the world of visual arts than their admittedly impressive heritage from ancient times.\u003c/p>\n\u003cp>“The goal for the exhibit itself is to elevate the modern over the ancient, celebrate present Assyrian artists who are looking at contemporary issues,” explains Yadegar.\u003c/p>\n\u003cp>These two Millennials went looking — where else? — on Instagram, and found artists like \u003ca href=\"https://www.instagram.com/atra.givarkes/\" target=\"_blank\" rel=\"noopener\">Atra Givarkes\u003c/a> of Orange County, who gives neo-Aramaic calligraphy a bright, pop art face lift.\u003c/p>\n\u003cfigure id=\"attachment_13859296\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy.jpeg\" alt=\"Tablet Series by artist Atra Givarkes\" width=\"2048\" height=\"1074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-800x419.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-768x403.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1020x535.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1200x629.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1920x1006.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Tablet Series by artist Atra Givarkes \u003ccite>(Courtesy of Megan White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s \u003ca href=\"http://www.estherestheresther.com/index.html\" target=\"_blank\" rel=\"noopener\">Esther Elia\u003c/a> of San Francisco, who works in multiple mediums. Some of her most striking contributions to this show include paintings she based on her family’s photographs from the early 20th century.\u003c/p>\n\u003cp>Elia explores the refugee experience both as a psychological journey for generations of Assyrian-Americans, and as an emotionally laden lens through which to view the current state of anti-immigration sentiment in the United States and Western Europe.\u003c/p>\n\u003cp>“Assyrians that were forced out of their lands and came to America for a new life as so many do; came as refugees and look what we’ve created. We’ve created art. We’ve created culture to give back to our community,” Sarkis said.\u003c/p>\n\u003cfigure id=\"attachment_13859297\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859297\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM.jpeg\" alt=\"Artist Esther Elia writes, "The picture shows my great-grandfather side by side with his brothers, all refugees fresh from Iran. While in Denmark recently, a taxi driver helpfully informed us that 'the refugees ruined Sweden.' What he said as pragmatic fact struck me as a personal rejection of my own people. It ultimately led me to ask, 'At what cost does the happiest place in the world maintain itself?'" Acrylic on canvas, 2018.\" width=\"2048\" height=\"1916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-160x150.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-800x749.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-768x719.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1020x954.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1200x1123.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1920x1797.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Artist Esther Elia writes, “The picture shows my great-grandfather side by side with his brothers, all refugees fresh from Iran. While in Denmark recently, a taxi driver helpfully informed us that ‘the refugees ruined Sweden.’ What he said as pragmatic fact struck me as a personal rejection of my own people. It ultimately led me to ask, ‘At what cost does the happiest place in the world maintain itself?'” Acrylic on canvas, 2018. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to argue, observing more than 30 works of painting, photography, pottery, graphic design and video in this exhibition.\u003c/p>\n\u003cp>It took the two amateur curators a year to put \u003cem>Diaspora in Bloom\u003c/em> together. Naturally, I ask if they’re game to do something like this again. Yadegar pauses for a moment, smiling.\u003c/p>\n\u003cp>“It’s possible,” she replies.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Diaspora in Bloom: \u003c/strong>\u003cstrong>Assyrians in the 20th Century & Beyond\u003c/strong>\u003c/em>\u003cem>\u003cstrong> \u003c/strong>runs June 1, 7, 8 & 14: 6pm-9pm and June 2,9 & 15 noon-4pm at \u003ca href=\"https://www.artarkgallery.com\" target=\"_blank\" rel=\"noopener\">Art Ark Gallery\u003c/a> in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://www.artarkgallery.com/current.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When the French painter and writer Françoise Gilot was 21, she met an older artist at a Paris restaurant. He invited her to visit his studio, and they quickly fell in love.\u003c/p>\n\u003cp>She defied her bourgeois family by moving in with him, and they remained together for 10 years. They raised two children, and she slowed her own career to be his muse, manager and support system. But this became untenable, and she left him, becoming a highly successful painter in her own right. As for the older artist — well, he was Pablo Picasso.\u003c/p>\n\u003cfigure id=\"attachment_13859180\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859180\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/gilot_2_800.jpg\" alt=\"'Life With Picasso' by Francoise Gilot, Carlton Lake and Lisa Alther. \" width=\"800\" height=\"1274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-160x255.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-768x1223.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-754x1200.jpg 754w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Life With Picasso’\u003cbr>by Francoise Gilot, Carlton Lake and Lisa Alther. \u003ccite>( Random House Inc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A decade after she and Picasso split, Gilot wrote a memoir of their time together, \u003cem>Life with Picasso\u003c/em>, newly reissued by NYRB Classics. When it first came out, Picasso launched three lawsuits trying to block its publication — and 40 French intellectuals signed a manifesto asking that it be banned. The novelist Lisa Alther writes in her introduction to the new edition that these intellectuals “evidently found it acceptable for Picasso to have used Gilot’s likeness in hundreds of his artworks — but scandalous if she portrayed him in hers.” Thankfully, the challenges to \u003cem>Life with Picasso\u003c/em> failed. Today, it stands as both an invaluable work of art history and a revealing precursor to the literature of #MeToo.\u003c/p>\n\u003cp>I have to admit to a certain temptation to read \u003cem>Life with Picasso \u003c/em>exclusively as the latter. In Gilot’s telling, which is without fail warm and empathic, Picasso emerges as domineering, sexist, and borderline abusive. Multiple times in the narrative, he prevents Gilot from seeking medical care. He tells her frequently that “there are only two kinds of women — goddesses and doormats.” But Gilot is neither. She is never a victim or an ingénue. In \u003cem>Life with Picasso\u003c/em>, she is a highly intelligent young artist to whom her former lover’s artwork is as intellectually exciting as their relationship was destructive.\u003c/p>\n\u003cp>Several of the best novels that have thus far emerged from the #MeToo movement, or been linked to it, have placed serious emphasis on their female protagonists’ intelligence or creativity as a source of agency, self-respect and liberation. Lisa Halliday’s \u003cem>Asymmetry \u003c/em>and Susan Choi’s \u003cem>Trust Exercise \u003c/em>excel on that front. Even the hapless protagonist of Erin Somers’ \u003cem>Stay Up with Hugo Best \u003c/em>out-talks the late-night host with whom she becomes entangled. \u003cem>Life with Picasso \u003c/em>prefigures these books. Throughout the memoir, Gilot takes control through her artistic intelligence. She describes Picasso’s methods and compares him to his contemporaries, filtering their work through her own exacting critical eye.\u003c/p>\n\u003cp>Gilot is exceptionally good at describing art. Often, she breaks an artwork into its essentials, as with a Picasso portrait that “had its planes brought over from the profile onto the front view, in blue and the black-gray-white gamut with ochre that is one of Pablo’s typical combinations.” But periodically she moves into full lyricism, as when she visits Giacometti’s studio:\u003c/p>\n\u003cblockquote>\u003cp>“One gets the feeling of life or movement because of the exceptional acuity of Giacometti’s sense of proportion. He makes us feel that his people are in motion, not by imitating any kind of gesture, but by the proportion himself and by the elongation of the material.”\u003c/p>\u003c/blockquote>\n\u003cp>At no point does she mention what Picasso thought of Giacometti’s work. It’s Gilot’s ideas that matter.\u003c/p>\n\u003cp>[aside postID='arts_13857445' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/05/09-TRIPLE-ELVIS_COVER-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>That said, Gilot does spend significant time describing Picasso’s artistic methods and ideas. This seems not like subordination, but like study. It also underscores the extent to which her attraction to him relied on his art. “At the time I went to live with Pablo,” she writes, “I had felt that he was a person to whom I could, and should, devote myself entirely, but from whom I should expect to receive nothing beyond what he had given the world by means of his art. I consented to make my life with him on those terms.” From a contemporary perspective, this consent seems compromised, given how much older and more powerful Picasso was than Gilot. Soon enough, Gilot, too, starts to notice its flaws.\u003c/p>\n\u003cp>Only at the memoir’s start does Picasso treat Gilot at all well. Once he persuades her to have children, their relationship rapidly falls apart. Picasso becomes distant and cruel. He cheats on Gilot and isolates her from Paris, and from her family. He pressures her to submit fully to his will; watching their newborn daughter Paloma sleep, he comments, “She’ll be a perfect woman… Passive and submissive. That’s the way all girls should be.”\u003c/p>\n\u003cp>At this point, the narrative takes on a familiar shape. Picasso uses all his influence to prevent Gilot from leaving him and from speaking publicly about his treatment of her. Gilot does both. She maintains clear respect for her former lover as both man and artist, but it is difficult to read \u003cem>Life with Picasso \u003c/em>and not come away both disappointed in Picasso and deeply respectful of Gilot’s intelligence, writing talent and will.\u003c/p>\n\u003cp>At the end of \u003cem>Life with Picasso\u003c/em>, as Picasso tries to prevent Gilot from leaving, he sneers, “You imagine people will be interested in \u003cem>you\u003c/em>? … Even if you think people like you, it will only be a kind of curiosity they will have about a person whose life has touched mine.” Reading \u003cem>Life with Picasso \u003c/em>exclusively as art history or feminist history would fulfill Picasso’s cruel prophecy. The book’s intellectual heft is in its art criticism, even as its emotional arc lies in Picasso and Gilot’s unequal romance. Only by appreciating both can readers accord Gilot the respect she deserves.\u003c/p>\n\u003cp>\u003cem>Lily Meyer is a writer and translator living in Washington, D.C.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the French painter and writer Françoise Gilot was 21, she met an older artist at a Paris restaurant. He invited her to visit his studio, and they quickly fell in love.\u003c/p>\n\u003cp>She defied her bourgeois family by moving in with him, and they remained together for 10 years. They raised two children, and she slowed her own career to be his muse, manager and support system. But this became untenable, and she left him, becoming a highly successful painter in her own right. As for the older artist — well, he was Pablo Picasso.\u003c/p>\n\u003cfigure id=\"attachment_13859180\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859180\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/gilot_2_800.jpg\" alt=\"'Life With Picasso' by Francoise Gilot, Carlton Lake and Lisa Alther. \" width=\"800\" height=\"1274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-160x255.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-768x1223.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-754x1200.jpg 754w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Life With Picasso’\u003cbr>by Francoise Gilot, Carlton Lake and Lisa Alther. \u003ccite>( Random House Inc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A decade after she and Picasso split, Gilot wrote a memoir of their time together, \u003cem>Life with Picasso\u003c/em>, newly reissued by NYRB Classics. When it first came out, Picasso launched three lawsuits trying to block its publication — and 40 French intellectuals signed a manifesto asking that it be banned. The novelist Lisa Alther writes in her introduction to the new edition that these intellectuals “evidently found it acceptable for Picasso to have used Gilot’s likeness in hundreds of his artworks — but scandalous if she portrayed him in hers.” Thankfully, the challenges to \u003cem>Life with Picasso\u003c/em> failed. Today, it stands as both an invaluable work of art history and a revealing precursor to the literature of #MeToo.\u003c/p>\n\u003cp>I have to admit to a certain temptation to read \u003cem>Life with Picasso \u003c/em>exclusively as the latter. In Gilot’s telling, which is without fail warm and empathic, Picasso emerges as domineering, sexist, and borderline abusive. Multiple times in the narrative, he prevents Gilot from seeking medical care. He tells her frequently that “there are only two kinds of women — goddesses and doormats.” But Gilot is neither. She is never a victim or an ingénue. In \u003cem>Life with Picasso\u003c/em>, she is a highly intelligent young artist to whom her former lover’s artwork is as intellectually exciting as their relationship was destructive.\u003c/p>\n\u003cp>Several of the best novels that have thus far emerged from the #MeToo movement, or been linked to it, have placed serious emphasis on their female protagonists’ intelligence or creativity as a source of agency, self-respect and liberation. Lisa Halliday’s \u003cem>Asymmetry \u003c/em>and Susan Choi’s \u003cem>Trust Exercise \u003c/em>excel on that front. Even the hapless protagonist of Erin Somers’ \u003cem>Stay Up with Hugo Best \u003c/em>out-talks the late-night host with whom she becomes entangled. \u003cem>Life with Picasso \u003c/em>prefigures these books. Throughout the memoir, Gilot takes control through her artistic intelligence. She describes Picasso’s methods and compares him to his contemporaries, filtering their work through her own exacting critical eye.\u003c/p>\n\u003cp>Gilot is exceptionally good at describing art. Often, she breaks an artwork into its essentials, as with a Picasso portrait that “had its planes brought over from the profile onto the front view, in blue and the black-gray-white gamut with ochre that is one of Pablo’s typical combinations.” But periodically she moves into full lyricism, as when she visits Giacometti’s studio:\u003c/p>\n\u003cblockquote>\u003cp>“One gets the feeling of life or movement because of the exceptional acuity of Giacometti’s sense of proportion. He makes us feel that his people are in motion, not by imitating any kind of gesture, but by the proportion himself and by the elongation of the material.”\u003c/p>\u003c/blockquote>\n\u003cp>At no point does she mention what Picasso thought of Giacometti’s work. It’s Gilot’s ideas that matter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That said, Gilot does spend significant time describing Picasso’s artistic methods and ideas. This seems not like subordination, but like study. It also underscores the extent to which her attraction to him relied on his art. “At the time I went to live with Pablo,” she writes, “I had felt that he was a person to whom I could, and should, devote myself entirely, but from whom I should expect to receive nothing beyond what he had given the world by means of his art. I consented to make my life with him on those terms.” From a contemporary perspective, this consent seems compromised, given how much older and more powerful Picasso was than Gilot. Soon enough, Gilot, too, starts to notice its flaws.\u003c/p>\n\u003cp>Only at the memoir’s start does Picasso treat Gilot at all well. Once he persuades her to have children, their relationship rapidly falls apart. Picasso becomes distant and cruel. He cheats on Gilot and isolates her from Paris, and from her family. He pressures her to submit fully to his will; watching their newborn daughter Paloma sleep, he comments, “She’ll be a perfect woman… Passive and submissive. That’s the way all girls should be.”\u003c/p>\n\u003cp>At this point, the narrative takes on a familiar shape. Picasso uses all his influence to prevent Gilot from leaving him and from speaking publicly about his treatment of her. Gilot does both. She maintains clear respect for her former lover as both man and artist, but it is difficult to read \u003cem>Life with Picasso \u003c/em>and not come away both disappointed in Picasso and deeply respectful of Gilot’s intelligence, writing talent and will.\u003c/p>\n\u003cp>At the end of \u003cem>Life with Picasso\u003c/em>, as Picasso tries to prevent Gilot from leaving, he sneers, “You imagine people will be interested in \u003cem>you\u003c/em>? … Even if you think people like you, it will only be a kind of curiosity they will have about a person whose life has touched mine.” Reading \u003cem>Life with Picasso \u003c/em>exclusively as art history or feminist history would fulfill Picasso’s cruel prophecy. The book’s intellectual heft is in its art criticism, even as its emotional arc lies in Picasso and Gilot’s unequal romance. Only by appreciating both can readers accord Gilot the respect she deserves.\u003c/p>\n\u003cp>\u003cem>Lily Meyer is a writer and translator living in Washington, D.C.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "activists-demand-a-police-free-pride-as-sfpd-ramps-up-its-gay-friendly-image",
"title": "Activists Demand a Police-Free Pride as SFPD Ramps Up Its Gay-Friendly Image",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>A lot has changed in the 53 years since the \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\" target=\"_blank\" rel=\"noopener\">Compton’s Cafeteria riot\u003c/a> of 1966, \u003cspan style=\"font-weight: 400\">when the LGBTQ+ community’s frustration at police harassment boiled over into a chaotic skirmish\u003c/span>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the time, the San Francisco Police Department had a habit of raiding gay bars and arresting patrons for anachronistic crimes like “female impersonation.” When a trans woman threw a coffee cup at a police officer attempting to grab her, SFPD suddenly found themselves on the defense from people who’d had it with their intervention. Three years later at the Stonewall Inn at New York City, queer and trans patrons rioted against police harassment for three consecutive days, sparking the modern-day gay rights movement. \u003c/span>\u003c/p>\n\u003cp>In a surprise announcement today, New York’s police commissioner \u003ca href=\"https://www.nytimes.com/2019/06/06/nyregion/stonewall-riots-nypd.html\" target=\"_blank\" rel=\"noopener\">James O’Neill apologized\u003c/a> for the NYPD’s treatment of the LGBTQ+ community during the Stonewall era, calling the department’s practices and the law “discriminatory and oppressive.”\u003c/p>\n\u003cp>The SFPD has yet to make a formal apology for similar actions. Yet SF Pride 2019 commemorates the Stonewall riots with the theme “Generations of Resistance,” and SFPD officers will march in the parade alongside the LGBTQ+ community. Despite SFPD’s efforts to project a gay-friendly image with the roll-out of new rainbow police uniform patches and patrol cars, activists question whether police have any place at Pride, given the long history of police brutality against the queer and trans community.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/1YCEU/status/1135554997775552512\u003c/p>\n\u003cp>Leading the charge against police presence at SF Pride is an activist group called Gay Shame, which criticizes what it calls “rainbow capitalism.” The group argues the gay rights movement has strayed too far from its roots of fighting for the most marginalized members of society—today, that includes the queer and trans homeless people who regularly experience police harassment. \u003cspan style=\"font-weight: 400\">[aside postid='arts_13858167']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If you look at all these queer revolts like Stonewall and Compton’s, the biggest agitator has been the cops,” says “Mary Kate,” a young Asian-American trans woman from Gay Shame. After setting up a meeting through an unknown person responding to the Gay Shame email account, I meet her and a colleague “Mary J,” a Black trans woman, for coffee in the Mission district. Both refuse to give their real names, citing Gay Shame’s policy of going by “Mary” in the press out of fear of “transphobic violence from cops or others” in retaliation for their activism. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mary Kate continues, “The cops have been leading the way to suppress our expression, suppress our sexualities, suppress our gender and to basically try to shove us in prisons.”\u003c/span>\u003c/p>\n\u003ch2>Activists want ‘cops and corporations out of Pride’\u003c/h2>\n\u003cp>Gay Shame, a loose, secretive coalition of 20 or so queer and trans activists of different ages and ethnic backgrounds, was founded in San Francisco in 2001. (The name Gay Shame is a satirical flip of Gay Pride intended to mock Pride’s corporate nature.) Over the last two decades, Gay Shame members have protested real estate developers, political campaigns, businesses and the criminal justice system in creative and sometimes controversial ways.\u003c/p>\n\u003cp>In 2010, the group held a “\u003ca href=\"https://www.youtube.com/watch?v=HewuNTS-ixQ&t=159s\" target=\"_blank\" rel=\"noopener\">goth cry-in\u003c/a>” where they mock-tearfully protested tech corporations at Pride. In 2017, they picketed \u003ca href=\"https://missionlocal.org/2017/08/sf-mission-residential-hotels-renovated-for-wealthier-tenants/\" target=\"_blank\" rel=\"noopener\">a developer\u003c/a> that turned a low-income, single-room occupancy hotel into upscale housing with quadrupled rent. One of Gay Shame’s most contentious projects has been their recent picketing outside of Manny’s, a Mission district wine bar and venue with social justice programming, because the owner expressed support of Zionism on Facebook. (The Manny’s protest has been extensively debated in \u003ca href=\"https://missionlocal.org/2019/03/distillations-the-paradox-of-mannys-the-watering-hole-that-exposes-san-francisco/\" target=\"_blank\" rel=\"noopener\">local media\u003c/a>, with some critics calling it \u003ca href=\"https://www.sfexaminer.com/news/mannys-is-a-perfect-business-for-the-mission/\" target=\"_blank\" rel=\"noopener\">anti-Semitic\u003c/a> despite \u003ca href=\"https://www.sfchronicle.com/opinion/openforum/article/What-boycott-of-Manny-s-in-the-Mission-is-about-13614904.php\" target=\"_blank\" rel=\"noopener\">support from\u003c/a> some queer, Jewish activists; Manny’s did not return KQED’s request for comment.) [aside postid='arts_13858290']\u003c/p>\n\u003cp>Gay Shame is currently running an information campaign under the slogan “\u003ca href=\"https://gayshame.net/index.php/five-o-out-of-pride-50/\" target=\"_blank\" rel=\"noopener\">Cops and Corporations Out of Pride\u003c/a>.” Stickers and graffiti with this message have popped up around San Francisco and Oakland in recent months. On May 21, the activists published an \u003ca href=\"https://gayshame.net/wp-content/uploads/2019/05/message-to-pride.png\" target=\"_blank\" rel=\"noopener\">open letter\u003c/a> to San Francisco Pride asking the organization to ban the police from participating in Pride events “in solidarity with all those who fight back against police terror.” San Francisco Pride did not address the open letter, and did not respond to KQED’s multiple requests for comment for this story.\u003c/p>\n\u003cfigure id=\"attachment_13858583\" class=\"wp-caption aligncenter\" style=\"max-width: 676px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858583\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/gay-shame-2017.jpg\" alt=\"Gay Shame members at a 2017 protest.\" width=\"676\" height=\"663\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gay-shame-2017.jpg 676w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gay-shame-2017-160x157.jpg 160w\" sizes=\"(max-width: 676px) 100vw, 676px\">\u003cfigcaption class=\"wp-caption-text\">Gay Shame members at a 2017 protest. \u003ccite>(Courtesy of Gay Shame)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prominent activists have endorsed Gay Shame’s campaign in \u003ca href=\"https://gayshame.net/index.php/five-o-out-of-pride-50/\" target=\"_blank\" rel=\"noopener\">video statements\u003c/a>, including Miss Major Griffin-Gracy, a Stonewall survivor and longtime advocate for incarcerated trans people; CeCe McDonald, a trans woman who was sentenced to a men’s prison after defending herself against an alleged hate crime; and Blackberri, an Oakland singer-songwriter, AIDS education activist and former San Francisco Pride Grand Marshall.\u003c/p>\n\u003cp>“Why would you invite a shark to swim with you naked in the sea, because you like sharks?” says Miss Major, who is a former sex worker and police brutality survivor, in a recent video on Gay Shame’s website. “These m—-rf—–rs are only out to arrest, put us in jail, lock us up, beat us up, get us to suck their d-ck and kick us out naked to go home. Happened to me twice, I know what the hell I’m talking about. They should have never been in the Pride parade.”\u003c/p>\n\u003cp>https://twitter.com/immissmajor/status/1085562519006130176\u003c/p>\n\u003cp>Discussing Gay Shame’s anti-police campaign, Mary J and Mary Kate point to \u003ca href=\"https://transequality.org/issues/housing-homelessness\" target=\"_blank\" rel=\"noopener\">disproportionately high rates\u003c/a> of homelessness and poverty among the queer and trans community, the arrests of homeless people and sex workers in Tenderloin drug sweeps, and tent encampment evictions that destroy homeless people’s belongings—a practice that has been \u003ca href=\"https://www.sfgate.com/bayarea/article/rapporteur-United-Nations-San-Francisco-homeless-13351509.php\" target=\"_blank\" rel=\"noopener\">decried by the United Nations\u003c/a> as a human rights violation.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“So many of these displaced people, that many regard as the homeless, are queer and trans,” Mary Kate says. “Cops take an active role in the disappearing of their assets, the disappearing of their home, their books and their clothes.” \u003c/span>\u003cspan style=\"font-weight: 400\">She argues that Pride, and its implicit endorsement of police and tech corporations, doesn’t truly represent the LGBTQ+ community’s interests, prioritizing its white, middle-class members over those disenfranchised by the Bay Area’s affordability crisis. \u003c/span>\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Mary Kate of Gay Shame']“If you look at all these queer revolts like Stonewall and Compton’s, the biggest agitator has been the cops.”[/pullquote]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The nascent gay rights movement that emerged after Stonewall had a similar ideology of caring for society’s most vulnerable: In the early ’70s, the pioneering organization Gay Liberation Front took inspiration from the Black Panthers and subscribed to an anti-capitalist, anti-imperialist ideology; the equally influential Street Transvestite Action Revolutionaries (STAR) fought for the rights of trans women, drag queens and gender non-conforming people who were routinely criminalized for survival sex work and experienced homelessness due to housing discrimination. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In San Francisco, tensions between the LGBTQ+ community and police heightened that same decade when Dan White, a former police officer, assassinated California’s first openly gay public official, Harvey Milk, and Mayor George Moscone. The LGBTQ+ community rioted in May 1979 after learning that White was convicted of manslaughter rather than murder and given the relatively short sentence of seven years. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I regret the fact that the movement has gone mainstream and has lost the radical edge it had in the days immediately following the Stonewall riots,” says longtime activist and historian Martin Duberman, who recently authored the book \u003cem>Has the Gay Movement Failed?\u003c/em> “Back then, the gay movement was not a single-issue movement solely concerned with winning rights for LGBTQ+ people. … I would like to have the gay movement become aware that the majority of gay people are working class and living close to the margins.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13858590\" class=\"wp-caption aligncenter\" style=\"max-width: 649px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13858590 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/sfpd-pride-badge.jpg\" alt=\"SFPD debuted its Pride badge in 2019.\" width=\"649\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/sfpd-pride-badge.jpg 649w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/sfpd-pride-badge-160x131.jpg 160w\" sizes=\"(max-width: 649px) 100vw, 649px\">\u003cfigcaption class=\"wp-caption-text\">SFPD debuted its Pride patch in 2019. \u003ccite>(SFPD/Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFPD did not respond to KQED’s multiple requests for comment. In April, Commander Teresa Ewins, who sits on the board of the SFPD Pride Alliance, told \u003cem>Bay Area Reporter \u003c/em>that SFPD has many LGBTQ+ officers, and that the department generally feels welcomed at the Pride parade. The department’s new rainbow patches are part of an intra-department fundraiser for \u003ca href=\"https://larkinstreetyouth.org/\" target=\"_blank\" rel=\"noopener\">Larkin Street Youth Services\u003c/a>, which serves LGBTQ+ homeless youth.\u003c/p>\n\u003cp>“I’ve heard no opposition this year,” Ewins \u003ca href=\"https://www.ebar.com/news/news//275057\" target=\"_blank\" rel=\"noopener\">told \u003cem>B.A.R\u003c/em>\u003c/a>. “Even those years that there were conversations about us not marching, the welcome we received in the march was pretty immense. People are happy to have us there.”\u003c/p>\n\u003ch2>Other police-free celebrations\u003c/h2>\n\u003cp>Gay Shame’s “Cops and Corporations Out of Pride” movement isn’t unique to San Francisco—nor is it the first time the issue has been raised here. In 2016, Black Lives Matter and other groups \u003ca href=\"https://www.huffpost.com/entry/increased-security-creates-controversy-at-san-francisco-pride-parade_n_576d8cade4b017b379f5ed27\" target=\"_blank\" rel=\"noopener\">canceled their participation in SF Pride\u003c/a> after organizers ramped up police presence in response to the Pulse nightclub shooting in Orlando. Along with Minneapolis, Vancouver and Toronto’s Pride celebrations, Sacramento’s SacPride banned uniformed police officers from marching in its parade—but \u003ca href=\"http://www.capradio.org/articles/2019/06/07/sacramento-pride-reversed-a-ban-on-uniformed-police-from-its-parade-now-key-organizers-are-demanding-its-chairmans-resignation/\" target=\"_blank\" rel=\"noopener\">reversed the ban on June 7\u003c/a>, a day before festivities were set to begin, prompting calls for resignations. [aside postid='arts_13858877']\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Historically, queer and trans folks, and in particular people of color in our own community, have experienced harassment and violence at the hands of law enforcement,” SacPride executive director David Heitstuman told me before the ban reversal. “On the 50th anniversary of the Stonewall uprising against police brutality, we really wanted to be in solidarity with that continuing method of advocacy.”\u003c/span>\u003c/p>\n\u003cp>Still, Heitstuman says that due to safety concerns, zero police presence at Pride isn’t currently realistic. “\u003cspan style=\"font-weight: 400\">The problem is there are real hate crimes in our community—in the queer community and the trans community,” he says. Indeed, there have been \u003ca href=\"https://www.sfexaminer.com/the-city/transgender-victim-injured-in-unprovoked-attack-while-waiting-for-bus-in-castro/\" target=\"_blank\" rel=\"noopener\">two suspected hate crimes\u003c/a> against LGBTQ+ people in San Francisco just this month. “It’s super important that we are conscious of the real safety and security concerns of the guests at our events and, unfortunately, the way that’s provided is to use police for those purposes.” \u003c/span>\u003c/p>\n\u003cp>[pullquote size='small' align='right' citation='SacPride executive director David Heitstuman']“Historically, queer and trans folks, and in particular people of color in our own community, have experienced harassment and violence at the hands of law enforcement. On the 50th anniversary of the Stonewall uprising against police brutality, we really wanted to be in solidarity with that continuing method of advocacy.”[/pullquote]\u003c/p>\n\u003cp>Organizers of San Francisco’s Dyke March follow a similar line of reasoning. At that annual event, police officers are present for safety reasons but don’t exhibit in the parade. “We try to be aware that a lot of people in the community don’t feel safe around the police,” this year’s Dyke March chair Haley Patoski \u003ca href=\"https://www.ebar.com/news/news//275057\" target=\"_blank\" rel=\"noopener\">told the \u003cem>Bay Area Reporter\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“That sentiment is not just us. It’s widely shared,” says Mary J. “How do we get people to produce the world they imagine, hope for and, probably in many ways, practice in their life? That involves a direct action that’s bigger, and involves many people and coordination—which may or may not be happening.”\u003c/span>\u003c/p>\n\u003cp>When I ask how Gay Shame would address safety concerns for a mass gathering like Pride without the presence of police, they say that they question the need for a large, corporate-sponsored celebration in the first place.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We encourage any and all queer, trans, gay, lesbian and nonbinary people to celebrate, but also to not forget Pride at its very root is political,” says Mary Kate. “We can’t let the police and corporations in this very vulnerable place.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story has been updated to reflect SacPride’s reversal of the ban on uniformed police.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>A lot has changed in the 53 years since the \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\" target=\"_blank\" rel=\"noopener\">Compton’s Cafeteria riot\u003c/a> of 1966, \u003cspan style=\"font-weight: 400\">when the LGBTQ+ community’s frustration at police harassment boiled over into a chaotic skirmish\u003c/span>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the time, the San Francisco Police Department had a habit of raiding gay bars and arresting patrons for anachronistic crimes like “female impersonation.” When a trans woman threw a coffee cup at a police officer attempting to grab her, SFPD suddenly found themselves on the defense from people who’d had it with their intervention. Three years later at the Stonewall Inn at New York City, queer and trans patrons rioted against police harassment for three consecutive days, sparking the modern-day gay rights movement. \u003c/span>\u003c/p>\n\u003cp>In a surprise announcement today, New York’s police commissioner \u003ca href=\"https://www.nytimes.com/2019/06/06/nyregion/stonewall-riots-nypd.html\" target=\"_blank\" rel=\"noopener\">James O’Neill apologized\u003c/a> for the NYPD’s treatment of the LGBTQ+ community during the Stonewall era, calling the department’s practices and the law “discriminatory and oppressive.”\u003c/p>\n\u003cp>The SFPD has yet to make a formal apology for similar actions. Yet SF Pride 2019 commemorates the Stonewall riots with the theme “Generations of Resistance,” and SFPD officers will march in the parade alongside the LGBTQ+ community. Despite SFPD’s efforts to project a gay-friendly image with the roll-out of new rainbow police uniform patches and patrol cars, activists question whether police have any place at Pride, given the long history of police brutality against the queer and trans community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Leading the charge against police presence at SF Pride is an activist group called Gay Shame, which criticizes what it calls “rainbow capitalism.” The group argues the gay rights movement has strayed too far from its roots of fighting for the most marginalized members of society—today, that includes the queer and trans homeless people who regularly experience police harassment. \u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If you look at all these queer revolts like Stonewall and Compton’s, the biggest agitator has been the cops,” says “Mary Kate,” a young Asian-American trans woman from Gay Shame. After setting up a meeting through an unknown person responding to the Gay Shame email account, I meet her and a colleague “Mary J,” a Black trans woman, for coffee in the Mission district. Both refuse to give their real names, citing Gay Shame’s policy of going by “Mary” in the press out of fear of “transphobic violence from cops or others” in retaliation for their activism. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mary Kate continues, “The cops have been leading the way to suppress our expression, suppress our sexualities, suppress our gender and to basically try to shove us in prisons.”\u003c/span>\u003c/p>\n\u003ch2>Activists want ‘cops and corporations out of Pride’\u003c/h2>\n\u003cp>Gay Shame, a loose, secretive coalition of 20 or so queer and trans activists of different ages and ethnic backgrounds, was founded in San Francisco in 2001. (The name Gay Shame is a satirical flip of Gay Pride intended to mock Pride’s corporate nature.) Over the last two decades, Gay Shame members have protested real estate developers, political campaigns, businesses and the criminal justice system in creative and sometimes controversial ways.\u003c/p>\n\u003cp>In 2010, the group held a “\u003ca href=\"https://www.youtube.com/watch?v=HewuNTS-ixQ&t=159s\" target=\"_blank\" rel=\"noopener\">goth cry-in\u003c/a>” where they mock-tearfully protested tech corporations at Pride. In 2017, they picketed \u003ca href=\"https://missionlocal.org/2017/08/sf-mission-residential-hotels-renovated-for-wealthier-tenants/\" target=\"_blank\" rel=\"noopener\">a developer\u003c/a> that turned a low-income, single-room occupancy hotel into upscale housing with quadrupled rent. One of Gay Shame’s most contentious projects has been their recent picketing outside of Manny’s, a Mission district wine bar and venue with social justice programming, because the owner expressed support of Zionism on Facebook. (The Manny’s protest has been extensively debated in \u003ca href=\"https://missionlocal.org/2019/03/distillations-the-paradox-of-mannys-the-watering-hole-that-exposes-san-francisco/\" target=\"_blank\" rel=\"noopener\">local media\u003c/a>, with some critics calling it \u003ca href=\"https://www.sfexaminer.com/news/mannys-is-a-perfect-business-for-the-mission/\" target=\"_blank\" rel=\"noopener\">anti-Semitic\u003c/a> despite \u003ca href=\"https://www.sfchronicle.com/opinion/openforum/article/What-boycott-of-Manny-s-in-the-Mission-is-about-13614904.php\" target=\"_blank\" rel=\"noopener\">support from\u003c/a> some queer, Jewish activists; Manny’s did not return KQED’s request for comment.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gay Shame is currently running an information campaign under the slogan “\u003ca href=\"https://gayshame.net/index.php/five-o-out-of-pride-50/\" target=\"_blank\" rel=\"noopener\">Cops and Corporations Out of Pride\u003c/a>.” Stickers and graffiti with this message have popped up around San Francisco and Oakland in recent months. On May 21, the activists published an \u003ca href=\"https://gayshame.net/wp-content/uploads/2019/05/message-to-pride.png\" target=\"_blank\" rel=\"noopener\">open letter\u003c/a> to San Francisco Pride asking the organization to ban the police from participating in Pride events “in solidarity with all those who fight back against police terror.” San Francisco Pride did not address the open letter, and did not respond to KQED’s multiple requests for comment for this story.\u003c/p>\n\u003cfigure id=\"attachment_13858583\" class=\"wp-caption aligncenter\" style=\"max-width: 676px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858583\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/gay-shame-2017.jpg\" alt=\"Gay Shame members at a 2017 protest.\" width=\"676\" height=\"663\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gay-shame-2017.jpg 676w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gay-shame-2017-160x157.jpg 160w\" sizes=\"(max-width: 676px) 100vw, 676px\">\u003cfigcaption class=\"wp-caption-text\">Gay Shame members at a 2017 protest. \u003ccite>(Courtesy of Gay Shame)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prominent activists have endorsed Gay Shame’s campaign in \u003ca href=\"https://gayshame.net/index.php/five-o-out-of-pride-50/\" target=\"_blank\" rel=\"noopener\">video statements\u003c/a>, including Miss Major Griffin-Gracy, a Stonewall survivor and longtime advocate for incarcerated trans people; CeCe McDonald, a trans woman who was sentenced to a men’s prison after defending herself against an alleged hate crime; and Blackberri, an Oakland singer-songwriter, AIDS education activist and former San Francisco Pride Grand Marshall.\u003c/p>\n\u003cp>“Why would you invite a shark to swim with you naked in the sea, because you like sharks?” says Miss Major, who is a former sex worker and police brutality survivor, in a recent video on Gay Shame’s website. “These m—-rf—–rs are only out to arrest, put us in jail, lock us up, beat us up, get us to suck their d-ck and kick us out naked to go home. Happened to me twice, I know what the hell I’m talking about. They should have never been in the Pride parade.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Discussing Gay Shame’s anti-police campaign, Mary J and Mary Kate point to \u003ca href=\"https://transequality.org/issues/housing-homelessness\" target=\"_blank\" rel=\"noopener\">disproportionately high rates\u003c/a> of homelessness and poverty among the queer and trans community, the arrests of homeless people and sex workers in Tenderloin drug sweeps, and tent encampment evictions that destroy homeless people’s belongings—a practice that has been \u003ca href=\"https://www.sfgate.com/bayarea/article/rapporteur-United-Nations-San-Francisco-homeless-13351509.php\" target=\"_blank\" rel=\"noopener\">decried by the United Nations\u003c/a> as a human rights violation.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“So many of these displaced people, that many regard as the homeless, are queer and trans,” Mary Kate says. “Cops take an active role in the disappearing of their assets, the disappearing of their home, their books and their clothes.” \u003c/span>\u003cspan style=\"font-weight: 400\">She argues that Pride, and its implicit endorsement of police and tech corporations, doesn’t truly represent the LGBTQ+ community’s interests, prioritizing its white, middle-class members over those disenfranchised by the Bay Area’s affordability crisis. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "“If you look at all these queer revolts like Stonewall and Compton’s, the biggest agitator has been the cops.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The nascent gay rights movement that emerged after Stonewall had a similar ideology of caring for society’s most vulnerable: In the early ’70s, the pioneering organization Gay Liberation Front took inspiration from the Black Panthers and subscribed to an anti-capitalist, anti-imperialist ideology; the equally influential Street Transvestite Action Revolutionaries (STAR) fought for the rights of trans women, drag queens and gender non-conforming people who were routinely criminalized for survival sex work and experienced homelessness due to housing discrimination. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In San Francisco, tensions between the LGBTQ+ community and police heightened that same decade when Dan White, a former police officer, assassinated California’s first openly gay public official, Harvey Milk, and Mayor George Moscone. The LGBTQ+ community rioted in May 1979 after learning that White was convicted of manslaughter rather than murder and given the relatively short sentence of seven years. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I regret the fact that the movement has gone mainstream and has lost the radical edge it had in the days immediately following the Stonewall riots,” says longtime activist and historian Martin Duberman, who recently authored the book \u003cem>Has the Gay Movement Failed?\u003c/em> “Back then, the gay movement was not a single-issue movement solely concerned with winning rights for LGBTQ+ people. … I would like to have the gay movement become aware that the majority of gay people are working class and living close to the margins.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13858590\" class=\"wp-caption aligncenter\" style=\"max-width: 649px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13858590 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/sfpd-pride-badge.jpg\" alt=\"SFPD debuted its Pride badge in 2019.\" width=\"649\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/sfpd-pride-badge.jpg 649w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/sfpd-pride-badge-160x131.jpg 160w\" sizes=\"(max-width: 649px) 100vw, 649px\">\u003cfigcaption class=\"wp-caption-text\">SFPD debuted its Pride patch in 2019. \u003ccite>(SFPD/Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFPD did not respond to KQED’s multiple requests for comment. In April, Commander Teresa Ewins, who sits on the board of the SFPD Pride Alliance, told \u003cem>Bay Area Reporter \u003c/em>that SFPD has many LGBTQ+ officers, and that the department generally feels welcomed at the Pride parade. The department’s new rainbow patches are part of an intra-department fundraiser for \u003ca href=\"https://larkinstreetyouth.org/\" target=\"_blank\" rel=\"noopener\">Larkin Street Youth Services\u003c/a>, which serves LGBTQ+ homeless youth.\u003c/p>\n\u003cp>“I’ve heard no opposition this year,” Ewins \u003ca href=\"https://www.ebar.com/news/news//275057\" target=\"_blank\" rel=\"noopener\">told \u003cem>B.A.R\u003c/em>\u003c/a>. “Even those years that there were conversations about us not marching, the welcome we received in the march was pretty immense. People are happy to have us there.”\u003c/p>\n\u003ch2>Other police-free celebrations\u003c/h2>\n\u003cp>Gay Shame’s “Cops and Corporations Out of Pride” movement isn’t unique to San Francisco—nor is it the first time the issue has been raised here. In 2016, Black Lives Matter and other groups \u003ca href=\"https://www.huffpost.com/entry/increased-security-creates-controversy-at-san-francisco-pride-parade_n_576d8cade4b017b379f5ed27\" target=\"_blank\" rel=\"noopener\">canceled their participation in SF Pride\u003c/a> after organizers ramped up police presence in response to the Pulse nightclub shooting in Orlando. Along with Minneapolis, Vancouver and Toronto’s Pride celebrations, Sacramento’s SacPride banned uniformed police officers from marching in its parade—but \u003ca href=\"http://www.capradio.org/articles/2019/06/07/sacramento-pride-reversed-a-ban-on-uniformed-police-from-its-parade-now-key-organizers-are-demanding-its-chairmans-resignation/\" target=\"_blank\" rel=\"noopener\">reversed the ban on June 7\u003c/a>, a day before festivities were set to begin, prompting calls for resignations. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Historically, queer and trans folks, and in particular people of color in our own community, have experienced harassment and violence at the hands of law enforcement,” SacPride executive director David Heitstuman told me before the ban reversal. “On the 50th anniversary of the Stonewall uprising against police brutality, we really wanted to be in solidarity with that continuing method of advocacy.”\u003c/span>\u003c/p>\n\u003cp>Still, Heitstuman says that due to safety concerns, zero police presence at Pride isn’t currently realistic. “\u003cspan style=\"font-weight: 400\">The problem is there are real hate crimes in our community—in the queer community and the trans community,” he says. Indeed, there have been \u003ca href=\"https://www.sfexaminer.com/the-city/transgender-victim-injured-in-unprovoked-attack-while-waiting-for-bus-in-castro/\" target=\"_blank\" rel=\"noopener\">two suspected hate crimes\u003c/a> against LGBTQ+ people in San Francisco just this month. “It’s super important that we are conscious of the real safety and security concerns of the guests at our events and, unfortunately, the way that’s provided is to use police for those purposes.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "“Historically, queer and trans folks, and in particular people of color in our own community, have experienced harassment and violence at the hands of law enforcement. On the 50th anniversary of the Stonewall uprising against police brutality, we really wanted to be in solidarity with that continuing method of advocacy.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Organizers of San Francisco’s Dyke March follow a similar line of reasoning. At that annual event, police officers are present for safety reasons but don’t exhibit in the parade. “We try to be aware that a lot of people in the community don’t feel safe around the police,” this year’s Dyke March chair Haley Patoski \u003ca href=\"https://www.ebar.com/news/news//275057\" target=\"_blank\" rel=\"noopener\">told the \u003cem>Bay Area Reporter\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“That sentiment is not just us. It’s widely shared,” says Mary J. “How do we get people to produce the world they imagine, hope for and, probably in many ways, practice in their life? That involves a direct action that’s bigger, and involves many people and coordination—which may or may not be happening.”\u003c/span>\u003c/p>\n\u003cp>When I ask how Gay Shame would address safety concerns for a mass gathering like Pride without the presence of police, they say that they question the need for a large, corporate-sponsored celebration in the first place.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We encourage any and all queer, trans, gay, lesbian and nonbinary people to celebrate, but also to not forget Pride at its very root is political,” says Mary Kate. “We can’t let the police and corporations in this very vulnerable place.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated to reflect SacPride’s reversal of the ban on uniformed police.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "jewish-community-center-removes-pro-palestine-artworks-from-gallery-stirring-controversy",
"title": "Jewish Community Center Removes Pro-Palestine Artworks From Gallery, Stirring Controversy",
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"headTitle": "Jewish Community Center Removes Pro-Palestine Artworks From Gallery, Stirring Controversy | KQED",
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"content": "\u003cp>Lining the atrium of the Jewish Community Center of San Francisco are the faces of hundreds of hopeful migrants. They’re passport photographs of Salvadorans looking to flee the country’s 1980s civil war, images collected by San Francisco artist Victor Cartagena. Their collective anxiety anchors \u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/gallery-collections-current-exhibits/katz-snyder-gallery/la-frontera/\" target=\"_blank\" rel=\"noopener\">La Frontera: Artists Respond to the U.S.-Mexico Border Crisis\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>The Katz Snyder Gallery exhibition curated by David J. de la Torre, which opened in April with work from 36 artists, explores immigration, detainment and asylum. It includes stirring depictions of refugees, pointed criticism of American border policy and even a self-portrait by homeless undocumented immigrant José Inez García Zárate, who was controversially \u003ca href=\"https://www.kqed.org/news/11633296/steinle-trial-verdict\" target=\"_blank\" rel=\"noopener\">acquitted\u003c/a> in the killing of San Francisco resident Kate Steinle in 2015, created while he was in custody.\u003c/p>\n\u003cp>Yet there are also conspicuous gaps on the wall where, until recently, artworks sympathetic to Palestine drew connections between the U.S.-Mexico border and the West Bank Barrier in Israel. Their removal has now prompted several participating artists to sign a letter promising to withdraw their work in protest of what they call an act of censorship—an assessment shared by the show’s curator.\u003c/p>\n\u003cfigure id=\"attachment_13859079\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859079\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Victor-Cartagena_ExpulsionImplosion-800x450.jpg\" alt=\"Victor Cartagena's "Expulsion/Implosion." which incorporates Salvadoran passport photos from the 1980s, anchors the borders-themed exhibition at the Jewish Community Center of San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Victor-Cartagena_ExpulsionImplosion-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Victor-Cartagena_ExpulsionImplosion-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Victor-Cartagena_ExpulsionImplosion-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Victor-Cartagena_ExpulsionImplosion-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Victor-Cartagena_ExpulsionImplosion-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Victor-Cartagena_ExpulsionImplosion.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Victor Cartagena’s “Expulsion/Implosion.” which incorporates Salvadoran passport photos from the 1980s, anchors the borders-themed exhibition at the Jewish Community Center of San Francisco. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Community center leadership says two pieces were removed not for political content but for depicting a gun and a dead child in a gallery space that is also a thruway to classrooms, and acknowledged that a third piece was preemptively excluded because it references the Gaza Strip.\u003c/p>\n\u003cp>Underlying the controversy is a question: Can community center leadership avoid confronting viewers with potentially disturbing and provocative art without undermining its stated goals of raising awareness, cultivating empathy and calling for justice in the refugee crisis?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eight protesting artists and artwork lenders argue community center leadership has deprived the public of “an opportunity for respectful dialogue,” as they recently wrote in a joint letter, and curator de la Torre said in an interview with KQED that he stands in “in solidarity” with their dissent. “When censorship—and this is censorship—raises its ugly head, it’s a lose-lose situation,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13859076\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859076\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Juan-Juentes-jewish-community-center-art-removed.jpeg\" alt=\"Juan Fuentes' excluded print depicts a man in a Palestinian keffiyeh below the word "Gaza."\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Juan-Juentes-jewish-community-center-art-removed.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Juan-Juentes-jewish-community-center-art-removed-160x107.jpeg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Juan Fuentes’ excluded print depicts a man in a Palestinian keffiyeh below the word “Gaza.” \u003ccite>(Courtesy Juan Fuentes )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lucia González Ippolito’s colored-pencil drawing shows the U.S.-Mexico border wall becoming the West Bank barrier, which Palestinians consider a symbol of apartheid, along with imagery related to the Syrian refugee crisis. \u003ca href=\"http://accionlatina.org/en/meet-curatorial-council-christo-oropeza/\">Christo Oropeza\u003c/a>’s painting shows a child and a soldier holding a gun in front of a wall.\u003c/p>\n\u003cp>Participating artists and lenders Adrian Delgado, Calixto Robles, Dana Smith, Josué Rojas, Matt Gonzalez and Mike Hinckley signed the letter calling the two artworks’ removal “ill-advised and irresponsible actions” and “an affront to our greater international San Francisco community.”\u003c/p>\n\u003cp>Another piece selected for the show, by \u003ca href=\"http://juanrfuentes.com/\">Juan Fuentes\u003c/a>, depicts a man in a Palestinian keffiyeh below the word “Gaza” next to a man in a hat bearing the word “huelga,” Spanish for “strike,” and what appears to be a Zapatista militant. The print, part of a series by Fuentes, was vetoed before the show opened.\u003c/p>\n\u003cfigure id=\"attachment_13859074\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859074\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/David-J.-de-la-Torre-800x450.jpg\" alt='Curator David J. de la Torre stands in front of \"La Guia (The Guide)\" by Rigoberto Gonzalez in the Jewish Community Center of San Francisco. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/David-J.-de-la-Torre-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/David-J.-de-la-Torre-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/David-J.-de-la-Torre-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/David-J.-de-la-Torre-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/David-J.-de-la-Torre-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/David-J.-de-la-Torre.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Curator David J. de la Torre stands in front of “La Guia (The Guide)” by Rigoberto Gonzalez in the Jewish Community Center of San Francisco. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ippolito, 31, a Mission District painter, learned of her piece’s removal shortly after the April 25 opening and received an explanatory email from the center’s “roots and culture” director, David Green. “Depictions of violence against children and dead children in our common areas is not acceptable,” Green wrote, referring to the drawing’s allusion to a 2015 photograph of Alan Kurdi, a three-year-old Kurdish boy who drowned in the Mediterranean Sea as his family fled Syria.\u003c/p>\n\u003cp>In an interview, Green said the community center nixed Fuentes’ print supporting Palestinians in the Gaza Strip, which Israel has blockaded since Hamas took power in 2007, because it doesn’t connect to the show’s U.S.-Mexico border theme. “And I’ll be honest with you, Israel is a sensitive issue,” he said. “We felt it would distract the core constituency of JCC from the rest of the show.”\u003c/p>\n\u003cp>But Green said Ippolito and Oropeza’s works were removed because the gallery area of the Presidio Heights facility is a hallway used by young children and parents: Ippolito’s drawing was installed next to a room used to host prenatal yoga classes. “Due to the artwork depicting triggering imagery of violence against children and dead children, we decided it was best to remove it, especially in light of chronic gun violence in schools and gathering spaces,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13859075\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859075\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/JCC-atrium-800x450.jpg\" alt=\"The gallery is also a thruway to classrooms at the Jewish Community Center of San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/JCC-atrium-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/JCC-atrium-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/JCC-atrium-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/JCC-atrium-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/JCC-atrium-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/JCC-atrium.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The gallery is also a thruway to classrooms at the Jewish Community Center of San Francisco. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Green added that his mistake was not engaging enough stakeholders at the community center to anticipate the effects of the offending art. “All of this has happened out of order,” he said.\u003c/p>\n\u003cp>Ippolito, a member of the San Francisco Poster Syndicate collective known for her murals in Balmy Alley—most recently \u003ci>\u003ca href=\"http://eltecolote.org/content/en/arts_culture/new-balmy-alley-mural-pays-tribute-to-women-of-the-resistance/\">Women of the Resistance\u003c/a>\u003c/i>—isn’t buying the explanation. She pointed out another painting in the show depicts a soldier with a rifle slung over his shoulder patting down detainees, while a more abstracted mixed-media piece is about a young migrant’s death in custody.\u003c/p>\n\u003cp>According to Green, those pieces are different. “We’re trying to challenge people without it being so jarring for someone who’s just walking by on their way to a classroom,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13859081\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859081\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Zarate-piece-800x450.jpg\" alt=\"Homeless undocumented immigrant José Inez García Zárate created this collage while in custody for the shooting death of Kate Steinle.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Zarate-piece-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Zarate-piece-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Zarate-piece-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Zarate-piece-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Zarate-piece-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Zarate-piece.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Homeless undocumented immigrant José Inez García Zárate created this collage while in custody for the shooting death of Kate Steinle. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ippolito called her drawing’s exclusion an attempt to suppress comparisons of Israeli and American immigration policy. “I was hoping people would consider the connection between the U.S.-Mexico border and the Israel-Palestine wall,” she said, noting President Donald Trump often cites the West Bank barrier as a model for his U.S.-Mexico border wall.\u003c/p>\n\u003cp>Ippolito also said Green extended an invitation to replace her drawing with another piece, but that her counter-proposal to mount a statement about what she considers censorship was ignored. Green said he would consider including her statement, but that Ippolito hasn’t sent it.\u003c/p>\n\u003cp>De la Torre, a freelance curator who previously led the Mexican Museum, said there’s “some validity” to Ippolito’s claim. Community center leadership discouraged his original proposal for a show themed around walls throughout history because it would’ve opened the door to work referencing the West Bank barrier.\u003c/p>\n\u003cfigure id=\"attachment_13859078\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859078\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/soldier-w-gun-800x450.jpg\" alt=\"Adrian Delgado's "Search/Buscar" has remained in the show despite also showing a soldier with a gun.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/soldier-w-gun-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/soldier-w-gun-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/soldier-w-gun-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/soldier-w-gun-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/soldier-w-gun-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/soldier-w-gun.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Delgado’s “Search/Buscar” has remained in the show despite also showing a soldier with a gun. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s their institutional choice,” he said.\u003c/p>\n\u003cp>More broadly, the curator believes the controversy is a test of the community center’s credibility as an exhibition space. He said he advocated for relocating or draping the offending paintings, and that he’s heard from staff both supportive of and disappointed by leadership’s decision to remove them. “I told JCC if they go down this path, there will be consequences,” he said.\u003c/p>\n\u003cp>Still, de la Torre isn’t surprised the show has elicited strong responses. A tour he led for the community center’s housekeeping staff ended with a worker breaking down and sharing her own immigration story. One afternoon recently, Rabbi Zac Kamenetz stopped to admire \u003ci>La Guia (The Guide)\u003c/i> by Rigoberto Gonzalez. “The Israelites fleeing Egypt comes to mind,” he said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Correction: This post has been updated to accurately describe Christo Oropeza’s painting. An earlier version incorrectly stated it depicts an Israeli soldier.\u003c/i>\u003c/p>\n\n",
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"title": "Jewish Community Center Removes Pro-Palestine Artworks From Gallery, Stirring Controversy | KQED",
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"headline": "Jewish Community Center Removes Pro-Palestine Artworks From Gallery, Stirring Controversy",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lining the atrium of the Jewish Community Center of San Francisco are the faces of hundreds of hopeful migrants. They’re passport photographs of Salvadorans looking to flee the country’s 1980s civil war, images collected by San Francisco artist Victor Cartagena. Their collective anxiety anchors \u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/gallery-collections-current-exhibits/katz-snyder-gallery/la-frontera/\" target=\"_blank\" rel=\"noopener\">La Frontera: Artists Respond to the U.S.-Mexico Border Crisis\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>The Katz Snyder Gallery exhibition curated by David J. de la Torre, which opened in April with work from 36 artists, explores immigration, detainment and asylum. It includes stirring depictions of refugees, pointed criticism of American border policy and even a self-portrait by homeless undocumented immigrant José Inez García Zárate, who was controversially \u003ca href=\"https://www.kqed.org/news/11633296/steinle-trial-verdict\" target=\"_blank\" rel=\"noopener\">acquitted\u003c/a> in the killing of San Francisco resident Kate Steinle in 2015, created while he was in custody.\u003c/p>\n\u003cp>Yet there are also conspicuous gaps on the wall where, until recently, artworks sympathetic to Palestine drew connections between the U.S.-Mexico border and the West Bank Barrier in Israel. Their removal has now prompted several participating artists to sign a letter promising to withdraw their work in protest of what they call an act of censorship—an assessment shared by the show’s curator.\u003c/p>\n\u003cfigure id=\"attachment_13859079\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859079\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Victor-Cartagena_ExpulsionImplosion-800x450.jpg\" alt=\"Victor Cartagena's "Expulsion/Implosion." which incorporates Salvadoran passport photos from the 1980s, anchors the borders-themed exhibition at the Jewish Community Center of San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Victor-Cartagena_ExpulsionImplosion-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Victor-Cartagena_ExpulsionImplosion-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Victor-Cartagena_ExpulsionImplosion-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Victor-Cartagena_ExpulsionImplosion-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Victor-Cartagena_ExpulsionImplosion-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Victor-Cartagena_ExpulsionImplosion.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Victor Cartagena’s “Expulsion/Implosion.” which incorporates Salvadoran passport photos from the 1980s, anchors the borders-themed exhibition at the Jewish Community Center of San Francisco. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Community center leadership says two pieces were removed not for political content but for depicting a gun and a dead child in a gallery space that is also a thruway to classrooms, and acknowledged that a third piece was preemptively excluded because it references the Gaza Strip.\u003c/p>\n\u003cp>Underlying the controversy is a question: Can community center leadership avoid confronting viewers with potentially disturbing and provocative art without undermining its stated goals of raising awareness, cultivating empathy and calling for justice in the refugee crisis?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eight protesting artists and artwork lenders argue community center leadership has deprived the public of “an opportunity for respectful dialogue,” as they recently wrote in a joint letter, and curator de la Torre said in an interview with KQED that he stands in “in solidarity” with their dissent. “When censorship—and this is censorship—raises its ugly head, it’s a lose-lose situation,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13859076\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859076\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Juan-Juentes-jewish-community-center-art-removed.jpeg\" alt=\"Juan Fuentes' excluded print depicts a man in a Palestinian keffiyeh below the word "Gaza."\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Juan-Juentes-jewish-community-center-art-removed.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Juan-Juentes-jewish-community-center-art-removed-160x107.jpeg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Juan Fuentes’ excluded print depicts a man in a Palestinian keffiyeh below the word “Gaza.” \u003ccite>(Courtesy Juan Fuentes )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lucia González Ippolito’s colored-pencil drawing shows the U.S.-Mexico border wall becoming the West Bank barrier, which Palestinians consider a symbol of apartheid, along with imagery related to the Syrian refugee crisis. \u003ca href=\"http://accionlatina.org/en/meet-curatorial-council-christo-oropeza/\">Christo Oropeza\u003c/a>’s painting shows a child and a soldier holding a gun in front of a wall.\u003c/p>\n\u003cp>Participating artists and lenders Adrian Delgado, Calixto Robles, Dana Smith, Josué Rojas, Matt Gonzalez and Mike Hinckley signed the letter calling the two artworks’ removal “ill-advised and irresponsible actions” and “an affront to our greater international San Francisco community.”\u003c/p>\n\u003cp>Another piece selected for the show, by \u003ca href=\"http://juanrfuentes.com/\">Juan Fuentes\u003c/a>, depicts a man in a Palestinian keffiyeh below the word “Gaza” next to a man in a hat bearing the word “huelga,” Spanish for “strike,” and what appears to be a Zapatista militant. The print, part of a series by Fuentes, was vetoed before the show opened.\u003c/p>\n\u003cfigure id=\"attachment_13859074\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859074\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/David-J.-de-la-Torre-800x450.jpg\" alt='Curator David J. de la Torre stands in front of \"La Guia (The Guide)\" by Rigoberto Gonzalez in the Jewish Community Center of San Francisco. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/David-J.-de-la-Torre-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/David-J.-de-la-Torre-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/David-J.-de-la-Torre-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/David-J.-de-la-Torre-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/David-J.-de-la-Torre-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/David-J.-de-la-Torre.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Curator David J. de la Torre stands in front of “La Guia (The Guide)” by Rigoberto Gonzalez in the Jewish Community Center of San Francisco. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ippolito, 31, a Mission District painter, learned of her piece’s removal shortly after the April 25 opening and received an explanatory email from the center’s “roots and culture” director, David Green. “Depictions of violence against children and dead children in our common areas is not acceptable,” Green wrote, referring to the drawing’s allusion to a 2015 photograph of Alan Kurdi, a three-year-old Kurdish boy who drowned in the Mediterranean Sea as his family fled Syria.\u003c/p>\n\u003cp>In an interview, Green said the community center nixed Fuentes’ print supporting Palestinians in the Gaza Strip, which Israel has blockaded since Hamas took power in 2007, because it doesn’t connect to the show’s U.S.-Mexico border theme. “And I’ll be honest with you, Israel is a sensitive issue,” he said. “We felt it would distract the core constituency of JCC from the rest of the show.”\u003c/p>\n\u003cp>But Green said Ippolito and Oropeza’s works were removed because the gallery area of the Presidio Heights facility is a hallway used by young children and parents: Ippolito’s drawing was installed next to a room used to host prenatal yoga classes. “Due to the artwork depicting triggering imagery of violence against children and dead children, we decided it was best to remove it, especially in light of chronic gun violence in schools and gathering spaces,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13859075\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859075\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/JCC-atrium-800x450.jpg\" alt=\"The gallery is also a thruway to classrooms at the Jewish Community Center of San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/JCC-atrium-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/JCC-atrium-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/JCC-atrium-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/JCC-atrium-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/JCC-atrium-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/JCC-atrium.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The gallery is also a thruway to classrooms at the Jewish Community Center of San Francisco. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Green added that his mistake was not engaging enough stakeholders at the community center to anticipate the effects of the offending art. “All of this has happened out of order,” he said.\u003c/p>\n\u003cp>Ippolito, a member of the San Francisco Poster Syndicate collective known for her murals in Balmy Alley—most recently \u003ci>\u003ca href=\"http://eltecolote.org/content/en/arts_culture/new-balmy-alley-mural-pays-tribute-to-women-of-the-resistance/\">Women of the Resistance\u003c/a>\u003c/i>—isn’t buying the explanation. She pointed out another painting in the show depicts a soldier with a rifle slung over his shoulder patting down detainees, while a more abstracted mixed-media piece is about a young migrant’s death in custody.\u003c/p>\n\u003cp>According to Green, those pieces are different. “We’re trying to challenge people without it being so jarring for someone who’s just walking by on their way to a classroom,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13859081\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859081\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Zarate-piece-800x450.jpg\" alt=\"Homeless undocumented immigrant José Inez García Zárate created this collage while in custody for the shooting death of Kate Steinle.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Zarate-piece-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Zarate-piece-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Zarate-piece-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Zarate-piece-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Zarate-piece-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Zarate-piece.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Homeless undocumented immigrant José Inez García Zárate created this collage while in custody for the shooting death of Kate Steinle. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ippolito called her drawing’s exclusion an attempt to suppress comparisons of Israeli and American immigration policy. “I was hoping people would consider the connection between the U.S.-Mexico border and the Israel-Palestine wall,” she said, noting President Donald Trump often cites the West Bank barrier as a model for his U.S.-Mexico border wall.\u003c/p>\n\u003cp>Ippolito also said Green extended an invitation to replace her drawing with another piece, but that her counter-proposal to mount a statement about what she considers censorship was ignored. Green said he would consider including her statement, but that Ippolito hasn’t sent it.\u003c/p>\n\u003cp>De la Torre, a freelance curator who previously led the Mexican Museum, said there’s “some validity” to Ippolito’s claim. Community center leadership discouraged his original proposal for a show themed around walls throughout history because it would’ve opened the door to work referencing the West Bank barrier.\u003c/p>\n\u003cfigure id=\"attachment_13859078\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859078\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/soldier-w-gun-800x450.jpg\" alt=\"Adrian Delgado's "Search/Buscar" has remained in the show despite also showing a soldier with a gun.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/soldier-w-gun-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/soldier-w-gun-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/soldier-w-gun-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/soldier-w-gun-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/soldier-w-gun-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/soldier-w-gun.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Delgado’s “Search/Buscar” has remained in the show despite also showing a soldier with a gun. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s their institutional choice,” he said.\u003c/p>\n\u003cp>More broadly, the curator believes the controversy is a test of the community center’s credibility as an exhibition space. He said he advocated for relocating or draping the offending paintings, and that he’s heard from staff both supportive of and disappointed by leadership’s decision to remove them. “I told JCC if they go down this path, there will be consequences,” he said.\u003c/p>\n\u003cp>Still, de la Torre isn’t surprised the show has elicited strong responses. A tour he led for the community center’s housekeeping staff ended with a worker breaking down and sharing her own immigration story. One afternoon recently, Rabbi Zac Kamenetz stopped to admire \u003ci>La Guia (The Guide)\u003c/i> by Rigoberto Gonzalez. “The Israelites fleeing Egypt comes to mind,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Correction: This post has been updated to accurately describe Christo Oropeza’s painting. An earlier version incorrectly stated it depicts an Israeli soldier.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>LOS ANGELES (AP) — The first Oscar winners of the season are already here. Filmmaker David Lynch, actor Wes Studi, director Lina Wertmüller and actress Geena Davis will all be receiving honorary Oscar statuettes at the Governors Awards in October, the Academy of Motion Picture Arts and Sciences said Monday.\u003c/p>\n\u003cp>Davis will receive the Jean Hersholt Humanitarian Award for her work advocating for gender equality in media as the founder of a non-profit organization, the Geena Davis Institute on Gender in Media, and the female-focused Bentonville Film Festival. The 63-year-old actually has won an Oscar before, for her supporting performance in “The Accidental Tourist,” and was also nominated for “Thelma & Louise.”\u003c/p>\n\u003cp>[aside postID='arts_13855728' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-57001380-1020x768.jpg' target='_blank']\u003c/p>\n\u003cp>The three other honorary Oscars are intended to recognize individuals who have made significant contributions to the industry but have not yet taken home Oscar gold.\u003c/p>\n\u003cp>Lynch, 73, is a four-time Oscar nominee for “The Elephant Man,” in which he was nominated for what is now known as an adapted screenplay and best director. His other nominations are for best director for “Blue Velvet” and “Mulholland Dr.”\u003c/p>\n\u003cp>Studi, 71, has never received an Oscar nomination, but has been part of a number of Oscar-nominated and winning films like “Dances with Wolves,” ″The Last of the Mohicans,” ″The New World,” and “Geronimo: An American Legend.”\u003c/p>\n\u003cp>At 90, Wertmüller is perhaps unfairly the least famous of the recipients, but broke enormous ground for women in the industry when she became the first woman to get a best director nomination for the film “Seven Beauties” in 1976. Wertmüller lost out to John G. Avildsen, who won for “Rocky.” Only four other women have followed in getting that best director nomination: Jane Campion, Sofia Coppola, Kathryn Bigelow and Greta Gerwig, and Bigelow is the only woman who has won.\u003c/p>\n\u003cp>The film academy’s board of governors voted on this year’s recipients Saturday, months earlier than usual to accommodate the shortened awards calendar this year.\u003c/p>\n\u003cp>“These Governors Awards given by the Academy each year recognize individuals who have devoted themselves to a lifetime of artistic accomplishment and brought outstanding contributions to our industry, and beyond,” said film academy President John Bailey in a statement.\u003c/p>\n\u003cp>The 11th annual ceremony will be held on Oct. 27, a month earlier than usual, at the Ray Dolby Ballroom in Hollywood just steps away from where the Oscars will take place on Feb. 9, 2020.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>LOS ANGELES (AP) — The first Oscar winners of the season are already here. Filmmaker David Lynch, actor Wes Studi, director Lina Wertmüller and actress Geena Davis will all be receiving honorary Oscar statuettes at the Governors Awards in October, the Academy of Motion Picture Arts and Sciences said Monday.\u003c/p>\n\u003cp>Davis will receive the Jean Hersholt Humanitarian Award for her work advocating for gender equality in media as the founder of a non-profit organization, the Geena Davis Institute on Gender in Media, and the female-focused Bentonville Film Festival. The 63-year-old actually has won an Oscar before, for her supporting performance in “The Accidental Tourist,” and was also nominated for “Thelma & Louise.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The three other honorary Oscars are intended to recognize individuals who have made significant contributions to the industry but have not yet taken home Oscar gold.\u003c/p>\n\u003cp>Lynch, 73, is a four-time Oscar nominee for “The Elephant Man,” in which he was nominated for what is now known as an adapted screenplay and best director. His other nominations are for best director for “Blue Velvet” and “Mulholland Dr.”\u003c/p>\n\u003cp>Studi, 71, has never received an Oscar nomination, but has been part of a number of Oscar-nominated and winning films like “Dances with Wolves,” ″The Last of the Mohicans,” ″The New World,” and “Geronimo: An American Legend.”\u003c/p>\n\u003cp>At 90, Wertmüller is perhaps unfairly the least famous of the recipients, but broke enormous ground for women in the industry when she became the first woman to get a best director nomination for the film “Seven Beauties” in 1976. Wertmüller lost out to John G. Avildsen, who won for “Rocky.” Only four other women have followed in getting that best director nomination: Jane Campion, Sofia Coppola, Kathryn Bigelow and Greta Gerwig, and Bigelow is the only woman who has won.\u003c/p>\n\u003cp>The film academy’s board of governors voted on this year’s recipients Saturday, months earlier than usual to accommodate the shortened awards calendar this year.\u003c/p>\n\u003cp>“These Governors Awards given by the Academy each year recognize individuals who have devoted themselves to a lifetime of artistic accomplishment and brought outstanding contributions to our industry, and beyond,” said film academy President John Bailey in a statement.\u003c/p>\n\u003cp>The 11th annual ceremony will be held on Oct. 27, a month earlier than usual, at the Ray Dolby Ballroom in Hollywood just steps away from where the Oscars will take place on Feb. 9, 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After 18 years, Apple is killing iTunes — well, sort of. The media management software for most Mac users (and many Windows users) is being broken into separate pieces for separate uses: Music, podcasts and television will soon have \u003ca href=\"https://www.apple.com/newsroom/2019/06/apple-previews-macos-catalina/\">their own apps\u003c/a> on the new Catalina Mac operating system.\u003c/p>\n\u003cp>Apple announced the move on Monday along with new hardware, including a new Mac Pro and Pro Display XDR, and entertainment and lifestyle features.\u003cbr>\n[aside postID='arts_13852882' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-6-1020x680.jpeg' target='_blank']\u003cbr>\nBut the company’s presentation, at its developers conference in San Jose, Calif., offered a lot of suspense around iTunes. “Tell me about iTunes or leave me alone while I feverishly try to back up my library lmao,” \u003ca href=\"https://twitter.com/tonyisapoet/status/1135617456276291584\">tweeted\u003c/a> one user.\u003c/p>\n\u003cp>Apple laid to rest a misapprehension that the iTunes Store (where users purchase songs and albums for download) would be going away in favor of Apple Music (the company’s streaming service). The iTunes Store will remain, as will the music that people bought from it. But Apple did address a long-running complaint from users of the iTunes desktop app: mainly, that it’s trying to be too many things at once.\u003c/p>\n\u003cp>At Monday’s conference, Craig Federighi, Apple’s senior vice president of software engineering, joked about this. “Customers love iTunes and everything it can do,” he said, before sarcastically asking: “But if there’s one thing we hear over and over, it’s ‘Can iTunes do even more?’ ”\u003c/p>\n\u003cp>Apple announced it will be launching a new stand-alone music app for Mac, as well as a new and improved TV app and a podcast app. And it said device syncing will now be handled in the Finder, the macOS file manager. Apple did not say how syncing iPhones or iPads would be handled on Windows machines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>iTunes will continue as a music store, but the new music app will be more closely aligned with Apple’s music-streaming service.\u003c/p>\n\u003cp>Apple has seen a \u003ca href=\"https://www.businessinsider.com/apple-biggest-iphone-sales-decline-in-3-years-gartner-says-2019-2\">decline in iPhone sales\u003c/a> due to a confluence of factors, including fewer buyers in China and an extended upgrade cycle. The company has been rebranding itself as a streaming-entertainment provider.\u003c/p>\n\u003cp>[aside postID='arts_13849625' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/01/Pandora.MAIN_-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>And it has made no secret of looking to grow its \u003ca href=\"https://www.npr.org/2019/03/25/706513097/apple-debuts-streaming-video-payment-card-and-news-subscription-services\">services businesses\u003c/a>, including the Apple Music streaming service, a forthcoming TV-streaming service and a magazine subscription service.\u003c/p>\n\u003cp>So is owning music becoming a thing of the past?\u003c/p>\n\u003cp>Streaming made up \u003ca href=\"https://www.digitalmusicnews.com/wp-content/uploads/2016/01/RIAA-2018-Year-End-Music-Industry-Revenue-Report.pdf\">75% of the music industry’s revenue last year\u003c/a>. It’s so lucrative that music streaming is where one of the fiercest battles against Apple’s alleged monopoly is being waged. In March, Spotify announced it had filed an antitrust complaint against Apple with the European Commission. Spotify says the 30% commission on all App Store purchases is unfair because it forces Spotify users to pay more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>These accusations aren’t just happening in Europe. In the U.S., the Supreme Court recently ruled that a class action lawsuit accusing Apple of operating an App Store monopoly can proceed.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\nBut the company’s presentation, at its developers conference in San Jose, Calif., offered a lot of suspense around iTunes. “Tell me about iTunes or leave me alone while I feverishly try to back up my library lmao,” \u003ca href=\"https://twitter.com/tonyisapoet/status/1135617456276291584\">tweeted\u003c/a> one user.\u003c/p>\n\u003cp>Apple laid to rest a misapprehension that the iTunes Store (where users purchase songs and albums for download) would be going away in favor of Apple Music (the company’s streaming service). The iTunes Store will remain, as will the music that people bought from it. But Apple did address a long-running complaint from users of the iTunes desktop app: mainly, that it’s trying to be too many things at once.\u003c/p>\n\u003cp>At Monday’s conference, Craig Federighi, Apple’s senior vice president of software engineering, joked about this. “Customers love iTunes and everything it can do,” he said, before sarcastically asking: “But if there’s one thing we hear over and over, it’s ‘Can iTunes do even more?’ ”\u003c/p>\n\u003cp>Apple announced it will be launching a new stand-alone music app for Mac, as well as a new and improved TV app and a podcast app. And it said device syncing will now be handled in the Finder, the macOS file manager. Apple did not say how syncing iPhones or iPads would be handled on Windows machines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And it has made no secret of looking to grow its \u003ca href=\"https://www.npr.org/2019/03/25/706513097/apple-debuts-streaming-video-payment-card-and-news-subscription-services\">services businesses\u003c/a>, including the Apple Music streaming service, a forthcoming TV-streaming service and a magazine subscription service.\u003c/p>\n\u003cp>So is owning music becoming a thing of the past?\u003c/p>\n\u003cp>Streaming made up \u003ca href=\"https://www.digitalmusicnews.com/wp-content/uploads/2016/01/RIAA-2018-Year-End-Music-Industry-Revenue-Report.pdf\">75% of the music industry’s revenue last year\u003c/a>. It’s so lucrative that music streaming is where one of the fiercest battles against Apple’s alleged monopoly is being waged. In March, Spotify announced it had filed an antitrust complaint against Apple with the European Commission. Spotify says the 30% commission on all App Store purchases is unfair because it forces Spotify users to pay more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>These accusations aren’t just happening in Europe. In the U.S., the Supreme Court recently ruled that a class action lawsuit accusing Apple of operating an App Store monopoly can proceed.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just in time for LGBTQ+ Pride Month, \u003ca href=\"https://cltc.org\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company\u003c/a> in San Jose presents \u003cem>Gender Bent Broadway\u003c/em>. That is to say, actors singing songs from roles they’ve always wanted to play, but couldn’t because of boring gender norms.\u003c/p>\n\u003cp>If you’re a fan of musical theater, and what 7 year old isn’t, it’s easy to love Robert Preston singing “Ya Got Trouble” from the 1957 Broadway musical \u003cem>The Music Man\u003c/em>.\u003c/p>\n\u003cp>Chloë Angst of Fremont fell in love with the song when she was 7.\u003c/p>\n\u003cp>“I loved it so much and I thought, ‘I want to play that part one day,'” Angst said, taking a moment’s respite from rehearsals ahead of the concert Sunday night.\u003c/p>\n\u003cp>But when she became a professional actor, right here in the San Francisco Bay Area, Angst was shocked to discover most casting directors seem inclined to hire biological males for roles written for men.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=LI_Oe-jtgdI]\u003c/p>\n\u003cp>“There’s usually a question on the audition form that says, ‘Which roles are you interested in taking?’ I will write down a male role, and 99% of the time, I do not get called back for that role and it is cast as a male.”\u003c/p>\n\u003cp>[aside postID='arts_13858609,arts_13858699,forum_2010101855532' label='Related Coverage']What could possibly account for this conventionality in the San Francisco Bay Area in 2019? Angst suggests timid regional theater companies fear offending older season subscribers. That, despite the fact Baby Boomers, right here in the Bay Area, helped usher in the sexual revolution and gay rights revolution in the 1960s and 70s.\u003c/p>\n\u003cp>Certainly, cabaret theater in the U.S. and abroad has celebrated gender fluidity for decades. In a revue, it doesn’t require any leap of imagination to divorce a song from the character that song was written for.\u003c/p>\n\u003cp>Broadway plays like \u003cem>Hedwig\u003c/em> and \u003cem>M. Butterfly\u003c/em> show there’s an appetite for stories detached from hetereonormative traditions. But that consciousness doesn’t necessarily find its way to modern productions of older plays and musicals.\u003c/p>\n\u003cp>Perhaps gender bending casting choices seem less risky when it’s a \u003ca href=\"http://www.playbill.com/article/6-gender-bending-broadway-replacements\" target=\"_blank\" rel=\"noopener\">celebrity\u003c/a> casting choice, as in the English actor \u003ca href=\"https://variety.com/2019/legit/reviews/king-lear-review-glenda-jackson-broadway-1203180018/\" target=\"_blank\" rel=\"noopener\">Glenda Jackson playing King Lear\u003c/a> on Broadway.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=M6b9ITKGWQM]\u003c/p>\n\u003cp>Whatever the case, with \u003ca href=\"http://cltc.org/concerts-special-events/\" target=\"_blank\" rel=\"noopener\">Gender Bent Broadway\u003c/a>, Angst gives herself and five other singing actors the chance to switch up the casting in a cabaret format. Also, the concert functions as a fundraiser for Angst’s new theater company, \u003ca href=\"http://www.badtheatrecompany.com\" target=\"_blank\" rel=\"noopener noreferrer\">B.A.D. Theatre Company\u003c/a>. B.A.D. there standing for Bay Area Diversity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, expect more of the same. Finally!\u003c/p>\n\n",
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"content": "\u003cp>With San Francisco as its backdrop, Ali Wong and Randall Park’s latest project is so much more than a romantic comedy.\u003c/p>\n\u003cp>\u003cem>Always Be My Maybe \u003c/em>is an enormously refreshing rom-com in a couple of ways that people who have covered its release have talked about a lot. Specifically, it’s an American rom-com (released on Netflix) that features two Asian American characters from a Korean American and Vietnamese American families who have sex, fall in love, break up, date other people and then find each other again. It stars Randall Park, who \u003ca href=\"https://www.npr.org/2015/10/14/448278570/actor-randall-park-says-fresh-off-the-boat-is-comedy-without-the-clich\">has spent the last several years\u003c/a> on ABC’s \u003cem>Fresh Off the Boat \u003c/em>but has had a long and varied career in comedy, and Ali Wong, \u003ca href=\"https://www.npr.org/2016/08/02/484163577/marriage-and-motherhood-are-a-source-of-power-says-comic-ali-wong\">whose career boomed after\u003c/a> the release of her comedy specials \u003cem>Baby Cobra \u003c/em>and then \u003cem>Hard Knock Wife\u003c/em>. Park and Wong have known each other a long time, and they have eager fan excitement to thank (at least in part) for the fact that they decided to actually go ahead with the project.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Always Be My Maybe | Trailer | Netflix\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/iHBcWHY9lN4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As romantic comedies have contracted after their post-’90s boom, those featuring leads of color have been, regrettably but predictably, hit especially hard. And while \u003cem>Crazy Rich Asians \u003c/em>in 2018 \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/14/637168347/opinion-dont-sweat-the-repsweats-and-let-crazy-rich-asians-be-what-it-is\">brought welcome representation\u003c/a> for Asian American actors in both romance and comedy, it was not really quite a romantic comedy in the traditional sense.\u003c/p>\n\u003cp>This is one. Straight-up, down-the-middle, glorious romantic comedy for people who really and truly love and miss that kind of movie — and the fact that both leads are Asian American isn’t the only way in which it’s fresh-faced. It’s also noteworthy that Park is 45 and Wong is 37, making them significantly older than rom-com leads often are. (When Billy Crystal and Meg Ryan appeared in \u003cem>When Harry Met Sally…,\u003c/em> also a long-relationship film and the one Wong and Park have often cited as inspiration, Crystal was just over 40 and Ryan was in her late 20s.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The two play Marcus and Sasha, who become best pals as kids in San Francisco’s Richmond district. They share one awkward sexual experience and then go their separate ways. Years later, when he’s still working with his father and she’s a celebrity chef, they meet up again. But he has a new and unusual girlfriend (a very funny Vivian Bang), and she’s dating a fancypants rich guy played by the always welcome Daniel Dae Kim.\u003c/p>\n\u003cp>I love what Wong is doing here with the idea of the very driven and successful romantic comedy heroine. Sasha is unapologetic about being ambitious, with the only conflict about her work coming from what feel like very fresh conversations with Marcus about whom she’s trying to please with “elevated Asian cuisine.” While discussing the menu with a consultant, she opts for rice paper because “white people eat it up.” There’s no sense that she needs to give up her job, and it’s clear that she’s probably going to remain famous while he remains not famous, no matter what else happens. Marcus is in a band, but while it would be easy to wrap this up by making his band a big hit, it would … not be particularly believable. (His band is called Hello Peril, which is just \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/09/27/647989652/if-we-called-ourselves-yellow\">a great, great joke\u003c/a>.) For those who grew up in the Bay Area, the bonus nod to DJ star Lyrics Born and a nearly-miss-it cameo with DJ Q-bert add to that San Francisco pride.\u003c/p>\n\u003cp>[aside postID='arts_13812554' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2017/10/ARTS_FILIPINODJS_1.jpg' target='_blank']\u003c/p>\n\u003cp>Sasha’s best friend, Veronica (Michelle Buteau, because the great comedy people just keep on coming), is super-pregnant for most of the film (perhaps significantly, the same way Wong was when she shot both her comedy specials), and she’s spared just about every bad best-friend cliché. In fact, Veronica’s pregnancy almost operates like a subtle assurance that although she loves her friend, this love story is not the most important thing going on in her life at the moment.\u003c/p>\n\u003cp>Park, too, is just marvelously appealing, supportive and still sometimes kind of foolish in the way you have to be for a rom-com not to end until it’s time for it to end. His dad is played by the marvelous James Saito, and the two of them have an easy and funny chemistry. Both Marcus’ and Sasha’s parents certainly have some culturally specific touchstones, but it’s embarrassing how unusual it is to see Asian American characters with parents firmly outside any super-driven or super-silly stereotypes. (This was also a marvelous aspect of \u003ca href=\"https://www.npr.org/2019/03/13/703140118/cringing-through-hulus-pen15-in-a-good-way\">Hulu’s coming-of-age series\u003c/a> \u003cem>PEN15\u003c/em> and its portrayal of Maya’s mom.)\u003c/p>\n\u003cp>We have to talk about Keanu Reeves, though, because Keanu Reeves is in the marketing.\u003c/p>\n\u003cp>One of the tricks with a film like this is that the middle often drags. After you get through the first part, in which you meet the characters and set up their lives and their love story (SPOILER ALERT), and before you get to the end, as they begin to approach a happy ending (SPOILER ALERT!!), there’s a section in the middle where it can feel like you’re just … waiting. You’re waiting for the people to figure out that they love each other or that their current partners are wrong for them. You’re waiting for obstacles to clear. And that section often needs something. The people who made \u003cem>Always Be My Maybe\u003c/em> very wisely concluded that what it needed was Keanu Reeves.\u003c/p>\n\u003cp>Without saying too much about his role, let’s say that Reeves here is riffing on what you might call the Keanu Reeves Cultural Ideal — this notion that he’s a fighter and a poet and a paragon of decency who probably meditates in the shower. And of all the times I’ve seen an actor goof around with his own image, this just might be my very favorite — even above the Neil Patrick Harris appearance in \u003cem>Harold & Kumar Go to White Castle\u003c/em>. Reeves is a tremendously good sport and a fabulous comic actor, and every tiny decision he makes in these scenes is exactly right. It would be unfair to say he steals the film, because he doesn’t. But what you can say is that his appearance helps enormously in kicking the middle of the film in the pants to keep it from sagging.\u003c/p>\n\u003cp>It’s a film that delivers on all its promises, gives a lot of funny people a chance to shine and — yes indeed — provides some much-needed representation to a lot of potential love-story leads who don’t see themselves in Hollywood nearly often enough.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And let me add: If you don’t stick around at least through the part of the credits with … the surprise audio, you may be sad later. Because later, someone will show you what you missed, and you will say, “I should have listened to that NPR critic.” Stay at least through the childhood photos. They’re pretty fun anyway.\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Love+Finds+Ali+Wong+And+Randall+Park+In+%27Always+Be+My+Maybe%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With San Francisco as its backdrop, Ali Wong and Randall Park’s latest project is so much more than a romantic comedy.\u003c/p>\n\u003cp>\u003cem>Always Be My Maybe \u003c/em>is an enormously refreshing rom-com in a couple of ways that people who have covered its release have talked about a lot. Specifically, it’s an American rom-com (released on Netflix) that features two Asian American characters from a Korean American and Vietnamese American families who have sex, fall in love, break up, date other people and then find each other again. It stars Randall Park, who \u003ca href=\"https://www.npr.org/2015/10/14/448278570/actor-randall-park-says-fresh-off-the-boat-is-comedy-without-the-clich\">has spent the last several years\u003c/a> on ABC’s \u003cem>Fresh Off the Boat \u003c/em>but has had a long and varied career in comedy, and Ali Wong, \u003ca href=\"https://www.npr.org/2016/08/02/484163577/marriage-and-motherhood-are-a-source-of-power-says-comic-ali-wong\">whose career boomed after\u003c/a> the release of her comedy specials \u003cem>Baby Cobra \u003c/em>and then \u003cem>Hard Knock Wife\u003c/em>. Park and Wong have known each other a long time, and they have eager fan excitement to thank (at least in part) for the fact that they decided to actually go ahead with the project.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Always Be My Maybe | Trailer | Netflix\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/iHBcWHY9lN4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As romantic comedies have contracted after their post-’90s boom, those featuring leads of color have been, regrettably but predictably, hit especially hard. And while \u003cem>Crazy Rich Asians \u003c/em>in 2018 \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/14/637168347/opinion-dont-sweat-the-repsweats-and-let-crazy-rich-asians-be-what-it-is\">brought welcome representation\u003c/a> for Asian American actors in both romance and comedy, it was not really quite a romantic comedy in the traditional sense.\u003c/p>\n\u003cp>This is one. Straight-up, down-the-middle, glorious romantic comedy for people who really and truly love and miss that kind of movie — and the fact that both leads are Asian American isn’t the only way in which it’s fresh-faced. It’s also noteworthy that Park is 45 and Wong is 37, making them significantly older than rom-com leads often are. (When Billy Crystal and Meg Ryan appeared in \u003cem>When Harry Met Sally…,\u003c/em> also a long-relationship film and the one Wong and Park have often cited as inspiration, Crystal was just over 40 and Ryan was in her late 20s.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The two play Marcus and Sasha, who become best pals as kids in San Francisco’s Richmond district. They share one awkward sexual experience and then go their separate ways. Years later, when he’s still working with his father and she’s a celebrity chef, they meet up again. But he has a new and unusual girlfriend (a very funny Vivian Bang), and she’s dating a fancypants rich guy played by the always welcome Daniel Dae Kim.\u003c/p>\n\u003cp>I love what Wong is doing here with the idea of the very driven and successful romantic comedy heroine. Sasha is unapologetic about being ambitious, with the only conflict about her work coming from what feel like very fresh conversations with Marcus about whom she’s trying to please with “elevated Asian cuisine.” While discussing the menu with a consultant, she opts for rice paper because “white people eat it up.” There’s no sense that she needs to give up her job, and it’s clear that she’s probably going to remain famous while he remains not famous, no matter what else happens. Marcus is in a band, but while it would be easy to wrap this up by making his band a big hit, it would … not be particularly believable. (His band is called Hello Peril, which is just \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/09/27/647989652/if-we-called-ourselves-yellow\">a great, great joke\u003c/a>.) For those who grew up in the Bay Area, the bonus nod to DJ star Lyrics Born and a nearly-miss-it cameo with DJ Q-bert add to that San Francisco pride.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sasha’s best friend, Veronica (Michelle Buteau, because the great comedy people just keep on coming), is super-pregnant for most of the film (perhaps significantly, the same way Wong was when she shot both her comedy specials), and she’s spared just about every bad best-friend cliché. In fact, Veronica’s pregnancy almost operates like a subtle assurance that although she loves her friend, this love story is not the most important thing going on in her life at the moment.\u003c/p>\n\u003cp>Park, too, is just marvelously appealing, supportive and still sometimes kind of foolish in the way you have to be for a rom-com not to end until it’s time for it to end. His dad is played by the marvelous James Saito, and the two of them have an easy and funny chemistry. Both Marcus’ and Sasha’s parents certainly have some culturally specific touchstones, but it’s embarrassing how unusual it is to see Asian American characters with parents firmly outside any super-driven or super-silly stereotypes. (This was also a marvelous aspect of \u003ca href=\"https://www.npr.org/2019/03/13/703140118/cringing-through-hulus-pen15-in-a-good-way\">Hulu’s coming-of-age series\u003c/a> \u003cem>PEN15\u003c/em> and its portrayal of Maya’s mom.)\u003c/p>\n\u003cp>We have to talk about Keanu Reeves, though, because Keanu Reeves is in the marketing.\u003c/p>\n\u003cp>One of the tricks with a film like this is that the middle often drags. After you get through the first part, in which you meet the characters and set up their lives and their love story (SPOILER ALERT), and before you get to the end, as they begin to approach a happy ending (SPOILER ALERT!!), there’s a section in the middle where it can feel like you’re just … waiting. You’re waiting for the people to figure out that they love each other or that their current partners are wrong for them. You’re waiting for obstacles to clear. And that section often needs something. The people who made \u003cem>Always Be My Maybe\u003c/em> very wisely concluded that what it needed was Keanu Reeves.\u003c/p>\n\u003cp>Without saying too much about his role, let’s say that Reeves here is riffing on what you might call the Keanu Reeves Cultural Ideal — this notion that he’s a fighter and a poet and a paragon of decency who probably meditates in the shower. And of all the times I’ve seen an actor goof around with his own image, this just might be my very favorite — even above the Neil Patrick Harris appearance in \u003cem>Harold & Kumar Go to White Castle\u003c/em>. Reeves is a tremendously good sport and a fabulous comic actor, and every tiny decision he makes in these scenes is exactly right. It would be unfair to say he steals the film, because he doesn’t. But what you can say is that his appearance helps enormously in kicking the middle of the film in the pants to keep it from sagging.\u003c/p>\n\u003cp>It’s a film that delivers on all its promises, gives a lot of funny people a chance to shine and — yes indeed — provides some much-needed representation to a lot of potential love-story leads who don’t see themselves in Hollywood nearly often enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And let me add: If you don’t stick around at least through the part of the credits with … the surprise audio, you may be sad later. Because later, someone will show you what you missed, and you will say, “I should have listened to that NPR critic.” Stay at least through the childhood photos. They’re pretty fun anyway.\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Love+Finds+Ali+Wong+And+Randall+Park+In+%27Always+Be+My+Maybe%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "leon-redbone-an-unusual-singer-from-a-bygone-era-has-died",
"title": "Leon Redbone, An Unusual Singer From A Bygone Era, Has Died",
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"content": "\u003cp>Leon Redbone, the perpetually anachronistic, famously mysterious artist who rose to prominence as a performer on Toronto’s folk circuit in the early ’70s, died Thursday while in hospice care in Bucks County, Pa.\u003c/p>\n\u003cp>Redbone’s family confirmed his death through a publicist. No cause was given, and Redbone’s age was a subject of speculation for decades.\u003c/p>\n\u003cp>“I’ve heard he’s anywhere from 25 to 60,” Bob Dylan \u003ca href=\"https://www.rollingstone.com/music/music-news/knockin-on-bob-dylans-door-191025/\">told\u003c/a> \u003cem>Rolling Stone\u003c/em> in 1974, “and I can’t tell, but you gotta see him.” That same year, when asked about his age by \u003cem>Rolling Stone,\u003c/em> Redbone replied: “Of course I don’t know. It’s just something I vaguely recall. I can’t say for sure.” In the news release announcing his death, Redbone’s age was cited as 127.\u003c/p>\n\u003cp>The only things known — ostensibly — of Redbone’s origins were \u003ca href=\"https://www.thestar.com/entertainment/2007/06/13/redbone_careful_to_preserve_the_mystery.html\">revealed\u003c/a> by \u003cem>Toronto Star\u003c/em> columnist George Gamester in the 1980s: that he was a Cypriot named Dickran Gobalian, who emigrated to Ontario in the 1960s and changed his name after arriving in Canada.\u003c/p>\n\u003cp>Redbone’s obscurantist tendencies, including his ever-present, masking uniform of sunglasses, bushy mustache and Panama hat, gave Redbone the aura of a quixotic time-traveler, someone who simply stepped onto the stage fully formed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And Redbone was a man happily — or at least, authentically — out-of-time. He played dusty classics — from Tin Pan Alley and ragtime to blues and country — with a loose fidelity, always anchored by his casually lovely and always wry voice.\u003c/p>\n\u003cp>Dylan’s endorsement, made at the apex of his and \u003cem>Rolling Stone\u003c/em>‘s cultural footprints, was a defining moment for Redbone and helped widened interest in him from stars of the era, including Bonnie Raitt and John Prine.\u003c/p>\n\u003cp>His commercial success, according to the \u003cem>Billboard\u003c/em> charts, peaked in 1977 when the album \u003cem>Double Time\u003c/em> \u003ca href=\"https://www.billboard.com/music/leon-redbone/chart-history/billboard-200\">reached\u003c/a> the top 50 — helped, in part, by two performances during \u003cem>Saturday Night Live\u003c/em>‘s debut season. But Redbone remained a cultural presence for decades, singing the theme song for ’80s sitcom \u003cem>Mr. Belvedere\u003c/em> and appearing as “Leon the Snowman” in the now-classic Christmas film \u003cem>Elf \u003c/em>in 2003.\u003c/p>\n\u003cp>In 2015, Redbone announced his retirement from touring, with a rep \u003ca href=\"https://www.rollingstone.com/music/music-news/leon-redbone-announces-retirement-new-third-man-compilation-72505/\">citing\u003c/a> health concerns. He followed that retirement up with another album, \u003cem>Long Way Home, \u003c/em>composed of his earliest recordings and released by Jack White’s label, Third Man Records.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When \u003ca href=\"https://soundcloud.com/ahsilverman/redbone-leon-dec-10-1984\">asked by NPR’s Lynn Neary in 1984\u003c/a> whether he enjoyed his performances, Redbone responded with a wink: “I never have a good time … but I try.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"excerpt": "Redbone's career was defined by biographical mystery and a musical ear obsessed with the sounds of yesteryear. He also sang the theme to \u003cem>Mr. Belvedere\u003c/em>.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leon Redbone, the perpetually anachronistic, famously mysterious artist who rose to prominence as a performer on Toronto’s folk circuit in the early ’70s, died Thursday while in hospice care in Bucks County, Pa.\u003c/p>\n\u003cp>Redbone’s family confirmed his death through a publicist. No cause was given, and Redbone’s age was a subject of speculation for decades.\u003c/p>\n\u003cp>“I’ve heard he’s anywhere from 25 to 60,” Bob Dylan \u003ca href=\"https://www.rollingstone.com/music/music-news/knockin-on-bob-dylans-door-191025/\">told\u003c/a> \u003cem>Rolling Stone\u003c/em> in 1974, “and I can’t tell, but you gotta see him.” That same year, when asked about his age by \u003cem>Rolling Stone,\u003c/em> Redbone replied: “Of course I don’t know. It’s just something I vaguely recall. I can’t say for sure.” In the news release announcing his death, Redbone’s age was cited as 127.\u003c/p>\n\u003cp>The only things known — ostensibly — of Redbone’s origins were \u003ca href=\"https://www.thestar.com/entertainment/2007/06/13/redbone_careful_to_preserve_the_mystery.html\">revealed\u003c/a> by \u003cem>Toronto Star\u003c/em> columnist George Gamester in the 1980s: that he was a Cypriot named Dickran Gobalian, who emigrated to Ontario in the 1960s and changed his name after arriving in Canada.\u003c/p>\n\u003cp>Redbone’s obscurantist tendencies, including his ever-present, masking uniform of sunglasses, bushy mustache and Panama hat, gave Redbone the aura of a quixotic time-traveler, someone who simply stepped onto the stage fully formed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And Redbone was a man happily — or at least, authentically — out-of-time. He played dusty classics — from Tin Pan Alley and ragtime to blues and country — with a loose fidelity, always anchored by his casually lovely and always wry voice.\u003c/p>\n\u003cp>Dylan’s endorsement, made at the apex of his and \u003cem>Rolling Stone\u003c/em>‘s cultural footprints, was a defining moment for Redbone and helped widened interest in him from stars of the era, including Bonnie Raitt and John Prine.\u003c/p>\n\u003cp>His commercial success, according to the \u003cem>Billboard\u003c/em> charts, peaked in 1977 when the album \u003cem>Double Time\u003c/em> \u003ca href=\"https://www.billboard.com/music/leon-redbone/chart-history/billboard-200\">reached\u003c/a> the top 50 — helped, in part, by two performances during \u003cem>Saturday Night Live\u003c/em>‘s debut season. But Redbone remained a cultural presence for decades, singing the theme song for ’80s sitcom \u003cem>Mr. Belvedere\u003c/em> and appearing as “Leon the Snowman” in the now-classic Christmas film \u003cem>Elf \u003c/em>in 2003.\u003c/p>\n\u003cp>In 2015, Redbone announced his retirement from touring, with a rep \u003ca href=\"https://www.rollingstone.com/music/music-news/leon-redbone-announces-retirement-new-third-man-compilation-72505/\">citing\u003c/a> health concerns. He followed that retirement up with another album, \u003cem>Long Way Home, \u003c/em>composed of his earliest recordings and released by Jack White’s label, Third Man Records.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When \u003ca href=\"https://soundcloud.com/ahsilverman/redbone-leon-dec-10-1984\">asked by NPR’s Lynn Neary in 1984\u003c/a> whether he enjoyed his performances, Redbone responded with a wink: “I never have a good time … but I try.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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