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"content": "\u003cp>The Super Bowl halftime show is arguably as big a spectacle as the actual game. And back in 2015, it launched an unwitting star.\u003c/p>\n\u003cp>Katy Perry was the halftime artist, but one of her dancers stole the spotlight. During her performance of the song “Teenage Dream,” she was flanked onstage by two dancers dressed in enormous blue shark costumes. The one on the right seemed to dance in sync; \u003ca href=\"https://www.youtube.com/watch?v=WmcWZ2Bzoho\">the one on the other side\u003c/a> flailed as if he’d been encased in that costume against his will.\u003c/p>\n\u003cp>“Left Shark” became an instant sensation. \u003c/p>\n\u003cp>Everyone wanted to know: Could he not hear the music? Could he not see his cues from inside that costume? What happened? \u003c/p>\n\u003cp>At the time, the man inside Left Shark refused to talk to news outlets. That’s since changed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Left Shark’s real name is Bryan Gaw. 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That’s where NPR’s David Greene caught up with him.\u003c/p>\n\u003cfigure id=\"attachment_13823252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-800x533.jpg\" alt=\"Bryan Gaw: dancer with Katy Perry's touring ensemble, hair stylist, Left Shark.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13823252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bryan Gaw: dancer with Katy Perry’s touring ensemble, hair stylist, Left Shark. \u003ccite>(Danny Hajek/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaw explained that the role of Left Shark involved some freedom of expression. “So there’s a set choreography,” he said. “There’s also what’s called free-style choreography, or, like, you get to move around or play your character as a dancer. … I’m in a 7-foot blue shark costume. There’s no cool in that. So what’s the other option? Well, I’m gonna play a different character.”\u003c/p>\n\u003cp>And that character, he claims, was an underdog. An everyday person. Someone imperfect.\u003c/p>\n\u003cp>Gaw rehearsed his improvisational moment thinking he’d be a little goofy, but when he reached midfield at the Super Bowl, his movements became maximum goofy.\u003c/p>\n\u003cp> “Totally,” Gaw says with a laugh. “I’m on a maximum stage!” \u003c/p>\n\u003cp>https://twitter.com/katyperry/status/562539448588435456\u003c/p>\n\u003cp>https://twitter.com/desusnice/status/562065864149966850\u003c/p>\n\u003cp>https://twitter.com/James_Dator/status/562291770751733760\u003c/p>\n\u003cp>It took Gaw a while to get used to his newfound fame. In the immediate aftermath, the media had a field day with what was perceived as a botched performance. Social media was especially cutting. Gaw didn’t talk about it publicly at first — he said he didn’t want to draw attention away from Katy Perry. But he’s since found a lot of love for Left Shark. \u003c/p>\n\u003cp>“Actually I don’t get any negative feedback from it. If anything, people are, like, ‘Whoa, that’s so cool!’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Now, Gaw even lists Left Shark on his resume. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Man+Behind+%27Left+Shark%27+Explains+His+Viral+Super+Bowl+Moment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Three years ago, Bryan Gaw performed alongside Katy Perry in a blue shark costume and became an instant hit. Today he says he was playing a character: an everyday, imperfect person.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Super Bowl halftime show is arguably as big a spectacle as the actual game. And back in 2015, it launched an unwitting star.\u003c/p>\n\u003cp>Katy Perry was the halftime artist, but one of her dancers stole the spotlight. During her performance of the song “Teenage Dream,” she was flanked onstage by two dancers dressed in enormous blue shark costumes. The one on the right seemed to dance in sync; \u003ca href=\"https://www.youtube.com/watch?v=WmcWZ2Bzoho\">the one on the other side\u003c/a> flailed as if he’d been encased in that costume against his will.\u003c/p>\n\u003cp>“Left Shark” became an instant sensation. \u003c/p>\n\u003cp>Everyone wanted to know: Could he not hear the music? Could he not see his cues from inside that costume? What happened? \u003c/p>\n\u003cp>At the time, the man inside Left Shark refused to talk to news outlets. That’s since changed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Left Shark’s real name is Bryan Gaw. He’d been a dancer with Katy Perry’s touring ensemble for five years. He left the road about a year ago, and today he’s a hair stylist at Mare Salon in West Hollywood. That’s where NPR’s David Greene caught up with him.\u003c/p>\n\u003cfigure id=\"attachment_13823252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-800x533.jpg\" alt=\"Bryan Gaw: dancer with Katy Perry's touring ensemble, hair stylist, Left Shark.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13823252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bryan Gaw: dancer with Katy Perry’s touring ensemble, hair stylist, Left Shark. \u003ccite>(Danny Hajek/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaw explained that the role of Left Shark involved some freedom of expression. “So there’s a set choreography,” he said. “There’s also what’s called free-style choreography, or, like, you get to move around or play your character as a dancer. … I’m in a 7-foot blue shark costume. There’s no cool in that. So what’s the other option? Well, I’m gonna play a different character.”\u003c/p>\n\u003cp>And that character, he claims, was an underdog. An everyday person. Someone imperfect.\u003c/p>\n\u003cp>Gaw rehearsed his improvisational moment thinking he’d be a little goofy, but when he reached midfield at the Super Bowl, his movements became maximum goofy.\u003c/p>\n\u003cp> “Totally,” Gaw says with a laugh. “I’m on a maximum stage!” \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It took Gaw a while to get used to his newfound fame. In the immediate aftermath, the media had a field day with what was perceived as a botched performance. Social media was especially cutting. Gaw didn’t talk about it publicly at first — he said he didn’t want to draw attention away from Katy Perry. But he’s since found a lot of love for Left Shark. \u003c/p>\n\u003cp>“Actually I don’t get any negative feedback from it. If anything, people are, like, ‘Whoa, that’s so cool!’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Now, Gaw even lists Left Shark on his resume. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Man+Behind+%27Left+Shark%27+Explains+His+Viral+Super+Bowl+Moment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Third Muslim' Builds an Archive of Resistance to Stereotypes",
"headTitle": "‘The Third Muslim’ Builds an Archive of Resistance to Stereotypes | KQED",
"content": "\u003cp>What does it mean to be marginalized? How does it feel when a community that shares your religious beliefs in turn rejects you based on your race, gender identity, or physical ability?\u003c/p>\n\u003cp>These are two of the many questions posed by SOMArts’ \u003cem>\u003ca href=\"http://www.somarts.org/thirdmuslim/\" target=\"_blank\" rel=\"noopener\">The Third Muslim\u003c/a>\u003c/em>, an engaging multimedia installation of work by 15 artists who identify as queer, trans, and gender non-conforming. Curators \u003ca href=\"https://zulfikaralibhuttoart.com/\" target=\"_blank\" rel=\"noopener\">Zulfikar Ali Bhutto\u003c/a> and \u003ca href=\"https://www.colorlines.com/articles/post-pulse-massacre-moving-forward-means-rejecting-scarcity-and-fear\" target=\"_blank\" rel=\"noopener\">Yas Ahmed\u003c/a> marshal images and ideas that highlight Islam — along with homophobia, racism, and rejection in queer communities — and the potential for visual art to foster both individual and communal healing.\u003c/p>\n\u003cfigure id=\"attachment_13823129\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823129\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o.jpg\" alt=\"Curators Zulfikar Ali Bhutto and Yas Ahmed at the opening of 'The Third Muslim.'\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Curators Zulfikar Ali Bhutto and Yas Ahmed at the opening of ‘The Third Muslim.’ \u003ccite>(Chani Bockwinkel for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A note of context may be helpful. Though it’s not stated outright, critical theorist \u003ca href=\"https://english.fas.harvard.edu/faculty/bhabha/\" target=\"_blank\" rel=\"noopener\">Homi K. Bhabha\u003c/a>’s concept of the \u003ca href=\"http://monumenttotransformation.org/atlas-of-transformation/html/c/cultural-diversity/cultural-diversity-and-cultural-differences-homi-k-bhabha.html\" target=\"_blank\" rel=\"noopener\">third space\u003c/a> offers a lens through which to consider \u003cem>The Third Muslim\u003c/em>. Briefly described, the third space opens up when two or more individuals or cultures interact. Under the best circumstances, those interactions help blend disparate experiences, and undermine the notion that culture is homogenized, or worse, “pure.”\u003c/p>\n\u003cp>With Bhabha’s work in mind, the third space concept may help us understand historical and contemporary cultural collisions like imbalances of power between developed and developing nations, the consequences of colonialism, and the negative effect of mainstream media portrayals on communities represented in \u003cem>The Third Muslim\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13823119\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823119\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o.jpg\" alt=\"Taba Saj, Installation view of 'F**k It Veil' at SOMArts.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Taba Saj, Installation view of ‘F**k It Veil’ at SOMArts. \u003ccite>(Chani Bockwinkel for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clothing is a potent and prominent metaphor throughout the installation. Walking into the gallery, viewers are immediately faced with a subject that arouses passionate responses from women and men alike worldwide. \u003ca href=\"http://www.artbysaba.com/\" target=\"_blank\" rel=\"noopener\">Saba Taj\u003c/a>’s \u003cem>F**k It Veil\u003c/em> series presents three burqas, the modest garments worn by millions of Muslim women that are dismissed as sexist and culturally regressive by many in the West.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taj’s textiles depart from the black or dark blue cotton generally used to make burqas. Colorful print and gold lamé trimming (a la Scarlett O’Hara and Carol Burnett) introduce a note of uneasy humor intensified by how the mannequins, situated on a low platform, rise over the viewer. These representations of Muslim women do not suggest subservience or those lacking personal agency. Instead, they demonstrate pride in one’s ethnicity and religious identity. Against a media landscape lousy with loud and ill-informed, if not outright xenophobic personalities who live to condemn what they don’t understand, these silent figures speak volumes.\u003c/p>\n\u003cfigure id=\"attachment_13823130\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823130\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1.jpg\" alt=\"Hushidar Mortezaie, Installation view of 'Occupy Me: Topping from the Bottom.'\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Hushidar Mortezaie, Installation view of ‘Occupy Me: Topping from the Bottom.’ \u003ccite>(Chani Bockwinkel for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Iranian artist \u003ca href=\"https://www.instagram.com/hushi5/?hl=en\" target=\"_blank\" rel=\"noopener\">Hushidar Mortezaie\u003c/a>’s \u003cem>Occupy Me: Topping from the Bottom Up\u003c/em> addresses state-sponsored murder and hope for the future in a conceptual red carpet scene. In front of backpacks and jerseys emblazoned with the phrases “magic whiteness,” and “orientalism makes me barf,” Mortezaie positions three mannequins fitted with the likenesses of three men — teenagers Mahmoud Asgari and Ayaz Marhoni and actor Fereydoun Farrokhzad — whose deaths are popularly linked to their homosexuality.\u003c/p>\n\u003cp>By the artist’s hand, the souls of these men are celebrated, honored as symbols of resistance against perceived governmental and corporate exploitation. Facing out to the main gallery, the figures spur us to recognize a violent past and present reality in Iran, and work for a future that honors the lives that were lost.\u003c/p>\n\u003cfigure id=\"attachment_13823122\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o.jpg\" alt=\"Nabeela Vega, 'Visiting Thahab.'\" width=\"2048\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-150x150.jpg 150w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Nabeela Vega, ‘Visiting Thahab.’ \u003ccite>(Nabeela Vega)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to presenting the work of accomplished artists, Bhutto and Ahmed view the exhibition as the beginning of a physical and psychological space where these ideas can be sustained even after the installation closes. Building what they term a “multi-sensory archive” enables a marginalized community to represent itself, directly defying the negative media branding of queer Muslims.\u003c/p>\n\u003cp>While constructing and maintaining an archive is a fraught process, the endeavor will start to fill in missing or erased histories, and create a third space, as Bhabha theorized, for members of the wider queer community to discuss the issues — race, representation, access, and visibility — that have thus far divided them.\u003c/p>\n\u003cp>From this perspective, \u003ca href=\"http://queermuslimproject.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Samra Habib\u003c/a>’s luminous portrait series \u003cem>Just Me and Allah\u003c/em>, \u003ca href=\"http://jamilhellu.net/projects\" target=\"_blank\" rel=\"noopener\">Jamil Hellu\u003c/a>’s \u003cem>Cloaked\u003c/em>, and \u003ca href=\"http://www.nabeelavega.com/\" target=\"_blank\" rel=\"noopener\">Nabeela Vega\u003c/a>’s \u003cem>Visiting Thahab\u003c/em> may serve as reference points for those seeking visual affirmation of their queer and Muslim identities. Likewise, Totally Radical Muslims’ (TRM) \u003ca href=\"http://www.poconlineclassroom.com/blog/2016/6/12/rad-reading-totally-radical-muslims-zine-2\" target=\"_blank\" rel=\"noopener\">radical zine\u003c/a> and Kaamila Mohamed’s poetic verse may offer textual reassurance to those who seek healing. Set against a social and political milieu that shrinks and narrows by the day, the space created by \u003cem>The Third Muslim\u003c/em> is exactly what we need.\u003c/p>\n\u003cp>\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/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Third Muslim is on view at San Francisco’s SOMArts Culture Center through Feb. 22, 2018. For more information, \u003ca href=\"http://www.somarts.org/thirdmuslim/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "At SOMArts, a group exhibition of work by queer, trans, and gender non-conforming artists highlights Islam, and the potential for visual art to heal.",
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"description": "At SOMArts, a group exhibition of work by queer, trans, and gender non-conforming artists highlights Islam, and the potential for visual art to heal.",
"title": "'The Third Muslim' Builds an Archive of Resistance to Stereotypes | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What does it mean to be marginalized? How does it feel when a community that shares your religious beliefs in turn rejects you based on your race, gender identity, or physical ability?\u003c/p>\n\u003cp>These are two of the many questions posed by SOMArts’ \u003cem>\u003ca href=\"http://www.somarts.org/thirdmuslim/\" target=\"_blank\" rel=\"noopener\">The Third Muslim\u003c/a>\u003c/em>, an engaging multimedia installation of work by 15 artists who identify as queer, trans, and gender non-conforming. Curators \u003ca href=\"https://zulfikaralibhuttoart.com/\" target=\"_blank\" rel=\"noopener\">Zulfikar Ali Bhutto\u003c/a> and \u003ca href=\"https://www.colorlines.com/articles/post-pulse-massacre-moving-forward-means-rejecting-scarcity-and-fear\" target=\"_blank\" rel=\"noopener\">Yas Ahmed\u003c/a> marshal images and ideas that highlight Islam — along with homophobia, racism, and rejection in queer communities — and the potential for visual art to foster both individual and communal healing.\u003c/p>\n\u003cfigure id=\"attachment_13823129\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823129\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o.jpg\" alt=\"Curators Zulfikar Ali Bhutto and Yas Ahmed at the opening of 'The Third Muslim.'\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102714157_d8ca77566e_o-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Curators Zulfikar Ali Bhutto and Yas Ahmed at the opening of ‘The Third Muslim.’ \u003ccite>(Chani Bockwinkel for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A note of context may be helpful. Though it’s not stated outright, critical theorist \u003ca href=\"https://english.fas.harvard.edu/faculty/bhabha/\" target=\"_blank\" rel=\"noopener\">Homi K. Bhabha\u003c/a>’s concept of the \u003ca href=\"http://monumenttotransformation.org/atlas-of-transformation/html/c/cultural-diversity/cultural-diversity-and-cultural-differences-homi-k-bhabha.html\" target=\"_blank\" rel=\"noopener\">third space\u003c/a> offers a lens through which to consider \u003cem>The Third Muslim\u003c/em>. Briefly described, the third space opens up when two or more individuals or cultures interact. Under the best circumstances, those interactions help blend disparate experiences, and undermine the notion that culture is homogenized, or worse, “pure.”\u003c/p>\n\u003cp>With Bhabha’s work in mind, the third space concept may help us understand historical and contemporary cultural collisions like imbalances of power between developed and developing nations, the consequences of colonialism, and the negative effect of mainstream media portrayals on communities represented in \u003cem>The Third Muslim\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13823119\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823119\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o.jpg\" alt=\"Taba Saj, Installation view of 'F**k It Veil' at SOMArts.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/25102723107_ce39534638_o-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Taba Saj, Installation view of ‘F**k It Veil’ at SOMArts. \u003ccite>(Chani Bockwinkel for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clothing is a potent and prominent metaphor throughout the installation. Walking into the gallery, viewers are immediately faced with a subject that arouses passionate responses from women and men alike worldwide. \u003ca href=\"http://www.artbysaba.com/\" target=\"_blank\" rel=\"noopener\">Saba Taj\u003c/a>’s \u003cem>F**k It Veil\u003c/em> series presents three burqas, the modest garments worn by millions of Muslim women that are dismissed as sexist and culturally regressive by many in the West.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taj’s textiles depart from the black or dark blue cotton generally used to make burqas. Colorful print and gold lamé trimming (a la Scarlett O’Hara and Carol Burnett) introduce a note of uneasy humor intensified by how the mannequins, situated on a low platform, rise over the viewer. These representations of Muslim women do not suggest subservience or those lacking personal agency. Instead, they demonstrate pride in one’s ethnicity and religious identity. Against a media landscape lousy with loud and ill-informed, if not outright xenophobic personalities who live to condemn what they don’t understand, these silent figures speak volumes.\u003c/p>\n\u003cfigure id=\"attachment_13823130\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823130\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1.jpg\" alt=\"Hushidar Mortezaie, Installation view of 'Occupy Me: Topping from the Bottom.'\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/39941676762_8589c03e6a_o-1-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Hushidar Mortezaie, Installation view of ‘Occupy Me: Topping from the Bottom.’ \u003ccite>(Chani Bockwinkel for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Iranian artist \u003ca href=\"https://www.instagram.com/hushi5/?hl=en\" target=\"_blank\" rel=\"noopener\">Hushidar Mortezaie\u003c/a>’s \u003cem>Occupy Me: Topping from the Bottom Up\u003c/em> addresses state-sponsored murder and hope for the future in a conceptual red carpet scene. In front of backpacks and jerseys emblazoned with the phrases “magic whiteness,” and “orientalism makes me barf,” Mortezaie positions three mannequins fitted with the likenesses of three men — teenagers Mahmoud Asgari and Ayaz Marhoni and actor Fereydoun Farrokhzad — whose deaths are popularly linked to their homosexuality.\u003c/p>\n\u003cp>By the artist’s hand, the souls of these men are celebrated, honored as symbols of resistance against perceived governmental and corporate exploitation. Facing out to the main gallery, the figures spur us to recognize a violent past and present reality in Iran, and work for a future that honors the lives that were lost.\u003c/p>\n\u003cfigure id=\"attachment_13823122\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o.jpg\" alt=\"Nabeela Vega, 'Visiting Thahab.'\" width=\"2048\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/27360329549_4b86c8f49e_o-150x150.jpg 150w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Nabeela Vega, ‘Visiting Thahab.’ \u003ccite>(Nabeela Vega)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to presenting the work of accomplished artists, Bhutto and Ahmed view the exhibition as the beginning of a physical and psychological space where these ideas can be sustained even after the installation closes. Building what they term a “multi-sensory archive” enables a marginalized community to represent itself, directly defying the negative media branding of queer Muslims.\u003c/p>\n\u003cp>While constructing and maintaining an archive is a fraught process, the endeavor will start to fill in missing or erased histories, and create a third space, as Bhabha theorized, for members of the wider queer community to discuss the issues — race, representation, access, and visibility — that have thus far divided them.\u003c/p>\n\u003cp>From this perspective, \u003ca href=\"http://queermuslimproject.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Samra Habib\u003c/a>’s luminous portrait series \u003cem>Just Me and Allah\u003c/em>, \u003ca href=\"http://jamilhellu.net/projects\" target=\"_blank\" rel=\"noopener\">Jamil Hellu\u003c/a>’s \u003cem>Cloaked\u003c/em>, and \u003ca href=\"http://www.nabeelavega.com/\" target=\"_blank\" rel=\"noopener\">Nabeela Vega\u003c/a>’s \u003cem>Visiting Thahab\u003c/em> may serve as reference points for those seeking visual affirmation of their queer and Muslim identities. Likewise, Totally Radical Muslims’ (TRM) \u003ca href=\"http://www.poconlineclassroom.com/blog/2016/6/12/rad-reading-totally-radical-muslims-zine-2\" target=\"_blank\" rel=\"noopener\">radical zine\u003c/a> and Kaamila Mohamed’s poetic verse may offer textual reassurance to those who seek healing. Set against a social and political milieu that shrinks and narrows by the day, the space created by \u003cem>The Third Muslim\u003c/em> is exactly what we need.\u003c/p>\n\u003cp>\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/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Third Muslim is on view at San Francisco’s SOMArts Culture Center through Feb. 22, 2018. For more information, \u003ca href=\"http://www.somarts.org/thirdmuslim/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>American artist Jeff Koons met with the French culture minister Tuesday amid a debate over a monumental sculpture he plans to offer Paris as a memorial to victims of the 2015 terror attacks.\u003c/p>\n\u003cp>Two dozen people from the worlds of French art and entertainment signed an open letter this month urging the city to refuse Koons’ “Bouquet of Tulips,” calling the project “shocking” and its creator too commercially driven.\u003c/p>\n\u003cp>Koons donated the design in 2016, but not the cost to produce or install the sculpture. It is expected to weigh 36 metric tons (39.6-tons) and stand nearly 12-meters (39.3-feet) high.\u003c/p>\n\u003cp>The project’s direct and associated costs reportedly run to several million euros, some of which private sponsors are expected to pay.\u003c/p>\n\u003cp>The sculpture is intended for a museum hill with a view of the Eiffel tower.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Won't You be his Neighbor? Tom Hanks to Play Mister Rogers",
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"content": "\u003cp>It’s a beautiful day in this neighborhood for Tom Hanks, who’ll star as Mister Rogers in the upcoming biopic \u003cem>You Are My Friend\u003c/em>.\u003c/p>\n\u003cp>TriStar Pictures announced Monday it has acquired worldwide rights to the film, to be directed by \u003cem>The Diary of a Teenage Girl\u003c/em> filmmaker Marielle Heller.\u003c/p>\n\u003cp>The film will focus on the friendship between the host of \u003cem>Mister Rogers’ Neighborhood\u003c/em> and journalist Tom Junod. Junod reluctantly agreed to profile Fred Rogers only to find “his perspective on life transformed.”\u003c/p>\n\u003cp>Production will begin in September, with a 2019 release expected.\u003c/p>\n\u003cp>The role will surely add to the America’s Dad image of Hanks, who gave a very Rogers-like opening monologue while hosting \u003cem>Saturday Night Live\u003c/em> before the 2016 presidential election, swapping his jacket for a sweater and giving America a pep talk.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rogers died in 2003 at age 74.\u003c/p>\n\n",
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"content": "\u003cp>It’s time to acknowledge that the Grammy Awards has a real race problem on its hands: It’s racing toward total irrelevance.\u003c/p>\n\u003cp>Well before the night reached its disappointing apex, viewers were already feeling let down. “[S]till mad as hell that I kept watching the Grammys after Best New Artist,” Nadeska Alexis, the moderator of Complex’s \u003cem>Everyday Struggle\u003c/em> hip-hop commentary show, tweeted during her morning-after commute today, echoing the sentiments of most hip-hop fans. She was referring to the loss by R&B darling SZA in the Best New Artist category, despite the breakout success of her debut album \u003cem>Ctrl\u003c/em> in 2017. The loss by Kendrick Lamar’s Top Dawg Entertainment labelmate foreshadowed the rest of the 60th Annual Grammy Awards.\u003c/p>\n\u003cp>[contextly_sidebar id=”7FctIg3iAu3HXUgtXuItolE9k4067uR6″]\u003c/p>\n\u003cp>This happened despite the Academy’s attempt to make up for its history of snubs where hip-hop, and black music in general, are concerned. The main event of November’s nominations was the record number of rap artists nominated outside the hip-hop categories. For those keeping score, it signaled that the Academy might finally be ready to acknowledge that the genre’s impact is much broader than the narrow confines to which it has historically been relegated. The recognition seemed to coincide with the rise of hip-hop/R&B — i.e. black music — as the \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8085975/us-music-consumption-up-2017-rb-hip-hop-most-popular-genre\">most-consumed genre\u003c/a> in 2017.\u003c/p>\n\u003cp>Two of 2017’s most resonant albums, Kendrick Lamar’s \u003cem>DAMN.\u003c/em> and Jay-Z’s \u003cem>4:44\u003c/em>, competed against rapper Childish Gambino’s funk-inspired departure \u003cem>“Awaken, My Love!”\u003c/em> in a category rounded out by Lorde (\u003cem>Melodrama\u003c/em>) and ultimate upsetter Bruno Mars (\u003cem>24K Magic\u003c/em>), who also took home respective trophies for Song and Record of the Year (“That’s What I Like,” “24K Magic”).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even with the deck stacked in hip-hop’s favor, the genre came up short yet again in the coveted Album of the Year category. But the real loss is for the Recording Academy, which continues to prove how out of step it has become. If the story of 2017 is hip-hop’s takeover, the Grammys, by failing to reflect rap’s urgency, have settled deeper into an age-old narrative.\u003c/p>\n\u003cp>Oddly enough, Jay made a record as close to Grammy bait as any, a veteran performer releasing his most mature album to date, wrapped in a vulnerable narrative that features everything from him apologizing for celebrity infidelity to his mother’s personal coming out on record. And Lamar released a record deemed consensus album of the year, a critical and commercial success, by toeing the line between heady conceptual arc and rare pop triumph.\u003c/p>\n\u003cp>The snub makes it explicit that the Grammys is not here for hip-hop. And that’s no surprise. As is often the case, there are plenty of other problems we could discuss regarding Sunday night’s Grammy Awards. The lack of women nominees, in a year when the industry’s complicit silence around sexism speaks louder than the resulting #metoo movement, is a travesty. And there’s no excusing how the Spanish-language “Despacito,” which tied for longest-running \u003cem>Billboard \u003c/em>100 No. 1, failed to pick up a single award.\u003c/p>\n\u003cp>These are the results of a flawed voting process that increasingly fails to reflect the will of the majority in pop or politics. The electorate, in this case, is an aging academy membership in dire need of hip replacement surgery. But there’s a bigger takeaway regarding the Academy’s record on hip-hop that’s easy to miss. Despite celebrated Album of the Year wins by Lauryn Hill (\u003cem>The Miseducation of Lauryn Hill\u003c/em>, 1999) and OutKast (\u003cem>Speakerboxxx/The Love Below\u003c/em>, 2004), a pure rap album has never won the Grammy’s most esteemed category. Without the R&B-heavy stylings Lauryn offered on \u003cem>Miseducation\u003c/em> or Andre 3000’s pop-inflected melodies, a la “Hey Ya,” on \u003cem>The Love Below\u003c/em>, neither of those projects would’ve been primed for the award. Not even Eminem, the genre’s great white hope and one of the best emcees of all time, has won in the coveted AOY category; nominated for \u003cem>The Marshall Mathers LP\u003c/em> in 2001, he lost to Steely Dan.\u003c/p>\n\u003cp>So, what does it mean? Are the Grammys woefully out of touch, or do these chronic missteps mirror a deeper reflection of America’s inbred racism?\u003c/p>\n\u003cp>[contextly_sidebar id=”m3uVq5Jn241snf2khW8w9JVA4MGP65SS”]\u003c/p>\n\u003cp>That, in no way, erases the impact of Bruno Mars’ album win. Being a man of color himself, he acknowledges R&B predecessors from Jimmy Jam & Terry Lewis to Teddy Riley among his greatest influences. But in 2018, he’s also a safe Grammy pick who echoes the sounds of the past with performances that recall an era of black music more palatable to the mainstream now that it’s two decades in the recycled past. His chops may be rooted within the realm of hip-hop, as \u003cem>The New York Times Magazine’s \u003c/em>Jody Rosen \u003ca href=\"https://twitter.com/jodyrosen/status/958013399937495042\">argued today\u003c/a>, but it’s the fact that his music is also pop-friendly, drawing from many genres, that makes him easy for Grammy voters to embrace.\u003c/p>\n\u003cp>Meanwhile, artists pushing the envelope in 2017 are forced to watch from the sidelines or fight like crabs over the rap categories. Hip-hop’s relationship with the award show began with a boycott back in 1989. Since then the debate has continued to rage on about whether such recognition matters. From frequent Grammy-winner Kanye West to the never-nominated Vince Staples, rap artists have pointed to the significance of rap being segregated from the general categories. While November’s list of nominees looked hopeful, it was only a reminder of the inherent bias that remains built into the system in the end.\u003c/p>\n\u003cp>An artist would be stupid at this point to believe in change. Jay-Z reportedly declined the Academy’s invitation to perform last night. A performance on the Grammy stage works wonders for most young artists, but at this point in Jay-Z’s career he’d only be putting on a spectacle for ratings. The most successful rap artist in the history of the genre might not require our sympathies, but just imagine what it must be like for Jay-Z to walk away empty-handed in the general award categories, just as his wife Beyoncé did one year ago. When Adele won Album of the Year over \u003cem>Lemonade\u003c/em>, even she admittedly struggled to accept the award.\u003c/p>\n\u003cp>[contextly_sidebar id=”21FhlAhmAEBYUxUYVzNVElaY5edakSjO”]\u003c/p>\n\u003cp>But I don’t know if the Academy deserves all the blame. Maybe the award show is a scapegoat for a greater ill. The Grammys’ continued ghettoization of hip-hop is a distillation of America’s longstanding record on race. It’s a woefully offbeat record that black artists continue to remix and subvert. But if the rough and real noise heard in voices that dare to challenge that record — like those voices employed by Lamar throughout \u003cem>DAMN. \u003c/em>or the ones Jay exorcises on such \u003cem>4:44\u003c/em> songs as “Story of O.J.” — continue to fall on deaf Academy ears, those voices will only grow louder. And the Grammy’s will mute its own self-importance.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the end, a show of some sort will go on — whether onstage or off. Because “the only thing more frightening than watching a black man be honest in America,” as comedian Dave Chappelle interjected last night during Kendrick Lamar’s opening performance, is \u003cem>being \u003c/em>black in America.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Same+Old+Rap%3A+The+Grammys%27+Race+Toward+Irrelevance+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time to acknowledge that the Grammy Awards has a real race problem on its hands: It’s racing toward total irrelevance.\u003c/p>\n\u003cp>Well before the night reached its disappointing apex, viewers were already feeling let down. “[S]till mad as hell that I kept watching the Grammys after Best New Artist,” Nadeska Alexis, the moderator of Complex’s \u003cem>Everyday Struggle\u003c/em> hip-hop commentary show, tweeted during her morning-after commute today, echoing the sentiments of most hip-hop fans. She was referring to the loss by R&B darling SZA in the Best New Artist category, despite the breakout success of her debut album \u003cem>Ctrl\u003c/em> in 2017. The loss by Kendrick Lamar’s Top Dawg Entertainment labelmate foreshadowed the rest of the 60th Annual Grammy Awards.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This happened despite the Academy’s attempt to make up for its history of snubs where hip-hop, and black music in general, are concerned. The main event of November’s nominations was the record number of rap artists nominated outside the hip-hop categories. For those keeping score, it signaled that the Academy might finally be ready to acknowledge that the genre’s impact is much broader than the narrow confines to which it has historically been relegated. The recognition seemed to coincide with the rise of hip-hop/R&B — i.e. black music — as the \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8085975/us-music-consumption-up-2017-rb-hip-hop-most-popular-genre\">most-consumed genre\u003c/a> in 2017.\u003c/p>\n\u003cp>Two of 2017’s most resonant albums, Kendrick Lamar’s \u003cem>DAMN.\u003c/em> and Jay-Z’s \u003cem>4:44\u003c/em>, competed against rapper Childish Gambino’s funk-inspired departure \u003cem>“Awaken, My Love!”\u003c/em> in a category rounded out by Lorde (\u003cem>Melodrama\u003c/em>) and ultimate upsetter Bruno Mars (\u003cem>24K Magic\u003c/em>), who also took home respective trophies for Song and Record of the Year (“That’s What I Like,” “24K Magic”).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even with the deck stacked in hip-hop’s favor, the genre came up short yet again in the coveted Album of the Year category. But the real loss is for the Recording Academy, which continues to prove how out of step it has become. If the story of 2017 is hip-hop’s takeover, the Grammys, by failing to reflect rap’s urgency, have settled deeper into an age-old narrative.\u003c/p>\n\u003cp>Oddly enough, Jay made a record as close to Grammy bait as any, a veteran performer releasing his most mature album to date, wrapped in a vulnerable narrative that features everything from him apologizing for celebrity infidelity to his mother’s personal coming out on record. And Lamar released a record deemed consensus album of the year, a critical and commercial success, by toeing the line between heady conceptual arc and rare pop triumph.\u003c/p>\n\u003cp>The snub makes it explicit that the Grammys is not here for hip-hop. And that’s no surprise. As is often the case, there are plenty of other problems we could discuss regarding Sunday night’s Grammy Awards. The lack of women nominees, in a year when the industry’s complicit silence around sexism speaks louder than the resulting #metoo movement, is a travesty. And there’s no excusing how the Spanish-language “Despacito,” which tied for longest-running \u003cem>Billboard \u003c/em>100 No. 1, failed to pick up a single award.\u003c/p>\n\u003cp>These are the results of a flawed voting process that increasingly fails to reflect the will of the majority in pop or politics. The electorate, in this case, is an aging academy membership in dire need of hip replacement surgery. But there’s a bigger takeaway regarding the Academy’s record on hip-hop that’s easy to miss. Despite celebrated Album of the Year wins by Lauryn Hill (\u003cem>The Miseducation of Lauryn Hill\u003c/em>, 1999) and OutKast (\u003cem>Speakerboxxx/The Love Below\u003c/em>, 2004), a pure rap album has never won the Grammy’s most esteemed category. Without the R&B-heavy stylings Lauryn offered on \u003cem>Miseducation\u003c/em> or Andre 3000’s pop-inflected melodies, a la “Hey Ya,” on \u003cem>The Love Below\u003c/em>, neither of those projects would’ve been primed for the award. Not even Eminem, the genre’s great white hope and one of the best emcees of all time, has won in the coveted AOY category; nominated for \u003cem>The Marshall Mathers LP\u003c/em> in 2001, he lost to Steely Dan.\u003c/p>\n\u003cp>So, what does it mean? Are the Grammys woefully out of touch, or do these chronic missteps mirror a deeper reflection of America’s inbred racism?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That, in no way, erases the impact of Bruno Mars’ album win. Being a man of color himself, he acknowledges R&B predecessors from Jimmy Jam & Terry Lewis to Teddy Riley among his greatest influences. But in 2018, he’s also a safe Grammy pick who echoes the sounds of the past with performances that recall an era of black music more palatable to the mainstream now that it’s two decades in the recycled past. His chops may be rooted within the realm of hip-hop, as \u003cem>The New York Times Magazine’s \u003c/em>Jody Rosen \u003ca href=\"https://twitter.com/jodyrosen/status/958013399937495042\">argued today\u003c/a>, but it’s the fact that his music is also pop-friendly, drawing from many genres, that makes him easy for Grammy voters to embrace.\u003c/p>\n\u003cp>Meanwhile, artists pushing the envelope in 2017 are forced to watch from the sidelines or fight like crabs over the rap categories. Hip-hop’s relationship with the award show began with a boycott back in 1989. Since then the debate has continued to rage on about whether such recognition matters. From frequent Grammy-winner Kanye West to the never-nominated Vince Staples, rap artists have pointed to the significance of rap being segregated from the general categories. While November’s list of nominees looked hopeful, it was only a reminder of the inherent bias that remains built into the system in the end.\u003c/p>\n\u003cp>An artist would be stupid at this point to believe in change. Jay-Z reportedly declined the Academy’s invitation to perform last night. A performance on the Grammy stage works wonders for most young artists, but at this point in Jay-Z’s career he’d only be putting on a spectacle for ratings. The most successful rap artist in the history of the genre might not require our sympathies, but just imagine what it must be like for Jay-Z to walk away empty-handed in the general award categories, just as his wife Beyoncé did one year ago. When Adele won Album of the Year over \u003cem>Lemonade\u003c/em>, even she admittedly struggled to accept the award.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But I don’t know if the Academy deserves all the blame. Maybe the award show is a scapegoat for a greater ill. The Grammys’ continued ghettoization of hip-hop is a distillation of America’s longstanding record on race. It’s a woefully offbeat record that black artists continue to remix and subvert. But if the rough and real noise heard in voices that dare to challenge that record — like those voices employed by Lamar throughout \u003cem>DAMN. \u003c/em>or the ones Jay exorcises on such \u003cem>4:44\u003c/em> songs as “Story of O.J.” — continue to fall on deaf Academy ears, those voices will only grow louder. And the Grammy’s will mute its own self-importance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the end, a show of some sort will go on — whether onstage or off. Because “the only thing more frightening than watching a black man be honest in America,” as comedian Dave Chappelle interjected last night during Kendrick Lamar’s opening performance, is \u003cem>being \u003c/em>black in America.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Same+Old+Rap%3A+The+Grammys%27+Race+Toward+Irrelevance+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Recording Academy President Neil Portnow faced criticism Monday for his remarks after the 60th annual Grammy Awards ended with only two female winners on stage.\u003c/p>\n\u003cp>Following the awards show Sunday, many music fans and critics questioned whether the Time’s Up movement was just given lip service when the only woman nominated for album of the year, Lorde, didn’t perform. Instead, multiple minutes on the telecast was given to male artists who weren’t nominated, such as Sting and the band U2.\u003c/p>\n\u003cp>While the red carpet was filled with artists sporting white roses to symbolize support of gender equality, backstage after the show wrapped Portnow was questioned about Lorde’s absence from the stage, as well as the fact that only two women were shown on TV accepting awards.\u003c/p>\n\u003cp>“It has to begin with women who have the creativity in their hearts and their souls, who want to be musicians, who want to be engineers, who want to be producers, who want to be part of the industry on an executive level, to step up,” Portnow said backstage after the show. “Because I think they would be welcome. I don’t have personal experience of those kind of brick walls that you face. It’s us as an industry making a welcome mat very obvious — creating mentorships, creating opportunities for all people who want to be creative, and, really, paying it forward, and creating that next generation of artists who feel like they can do anything, say anything.”\u003c/p>\n\u003cp>Criticism for Portnow’s comments was swift. Grammy-winning singer Sheryl Crow tweeted Monday: “I wish the #Grammys would return to female/male categories. Who will young girls be inspired by to pick up a guitar and rock when most every category is filled with men? I’m not sure it is about women needing to “step up”, (as said by the male in charge). #GrammysSoMale”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Actress Debra Messing joined in the criticism, writing on Twitter: “This is incredibly dismaying to say the least” in regards to Portnow’s comments.\u003c/p>\n\u003cp>The Recording Academy did not immediately return an email seeking comment Monday.\u003c/p>\n\u003cp>There were no women nominated in the record of the year category and the only male to be nominated in the best pop solo performance, Ed Sheeran, won. Alessia Cara won best new artist and Rihanna also got to take the stage when she and Kendrick Lamar won best rap/sung performance for “LOYALTY.”\u003c/p>\n\u003cp>As for why Lorde didn’t get to perform solo, Portnow said, “We have a wealth of riches every year and it’s hard to have a balanced show and have everybody involved. Every year’s different. We can’t have a performance from every nominee. We have over 80 categories. And so we have to realize that we’ve got to create something that has balance and so on and so forth, and what you saw was our best judgment on how to do that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for Lorde, she seemed to address the controversy when she tweeted Monday morning, “If you’re debating whether or not I can murder a stage… come see it for urself.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Recording Academy President Neil Portnow faced criticism Monday for his remarks after the 60th annual Grammy Awards ended with only two female winners on stage.\u003c/p>\n\u003cp>Following the awards show Sunday, many music fans and critics questioned whether the Time’s Up movement was just given lip service when the only woman nominated for album of the year, Lorde, didn’t perform. Instead, multiple minutes on the telecast was given to male artists who weren’t nominated, such as Sting and the band U2.\u003c/p>\n\u003cp>While the red carpet was filled with artists sporting white roses to symbolize support of gender equality, backstage after the show wrapped Portnow was questioned about Lorde’s absence from the stage, as well as the fact that only two women were shown on TV accepting awards.\u003c/p>\n\u003cp>“It has to begin with women who have the creativity in their hearts and their souls, who want to be musicians, who want to be engineers, who want to be producers, who want to be part of the industry on an executive level, to step up,” Portnow said backstage after the show. “Because I think they would be welcome. I don’t have personal experience of those kind of brick walls that you face. It’s us as an industry making a welcome mat very obvious — creating mentorships, creating opportunities for all people who want to be creative, and, really, paying it forward, and creating that next generation of artists who feel like they can do anything, say anything.”\u003c/p>\n\u003cp>Criticism for Portnow’s comments was swift. Grammy-winning singer Sheryl Crow tweeted Monday: “I wish the #Grammys would return to female/male categories. Who will young girls be inspired by to pick up a guitar and rock when most every category is filled with men? I’m not sure it is about women needing to “step up”, (as said by the male in charge). #GrammysSoMale”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Actress Debra Messing joined in the criticism, writing on Twitter: “This is incredibly dismaying to say the least” in regards to Portnow’s comments.\u003c/p>\n\u003cp>The Recording Academy did not immediately return an email seeking comment Monday.\u003c/p>\n\u003cp>There were no women nominated in the record of the year category and the only male to be nominated in the best pop solo performance, Ed Sheeran, won. Alessia Cara won best new artist and Rihanna also got to take the stage when she and Kendrick Lamar won best rap/sung performance for “LOYALTY.”\u003c/p>\n\u003cp>As for why Lorde didn’t get to perform solo, Portnow said, “We have a wealth of riches every year and it’s hard to have a balanced show and have everybody involved. Every year’s different. We can’t have a performance from every nominee. We have over 80 categories. And so we have to realize that we’ve got to create something that has balance and so on and so forth, and what you saw was our best judgment on how to do that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for Lorde, she seemed to address the controversy when she tweeted Monday morning, “If you’re debating whether or not I can murder a stage… come see it for urself.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "queer-film-my-gaze-yr-gaze-alley-cat-books-irwin-swirnoff",
"title": "Projecting the Fight Against Queer Erasure, Film by Film",
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"content": "\u003cp>The free raffle is causing uproarious laughter in the back room of San Francisco’s Alley Cat Books. Irwin Swirnoff, organizer of the queer film series \u003ca href=\"https://www.facebook.com/events/2002696679948371/\" rel=\"noopener\" target=\"_blank\">my gaze///yr gaze\u003c/a>, dips his hand into a bag to select the next lucky audience member. The items up for grabs include Queen Latifah’s 2000 autobiography \u003ci>Ladies First\u003c/i>, a 45 of Gloria Gaynor singing “I Will Survive,” and a cassette of British R&B group Soul II Soul, featuring their 1989 single “Keep on Movin.’” \u003c/p>\n\u003cp>“And the winner is… ‘More desperate than Taylor Swift’!” he announces. A young woman sheepishly raises her hand and accepts the bundle of prizes to cheers and applause. \u003c/p>\n\u003cp>Over the course of the night, Swirnoff raffles away four more collections of odds and ends, setting a convivial tone for the night’s main event — a screening of director Tony Richardson’s 1961 film \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/A_Taste_of_Honey_(film)\" rel=\"noopener\" target=\"_blank\">A Taste of Honey\u003c/a>\u003c/i>. On the first Sunday of every month (barring travel or sickness on the part of Swirnoff), a small crowd gathers in the back room of \u003ca href=\"http://www.alleycatbookshop.com/\" rel=\"noopener\" target=\"_blank\">Alley Cat Books\u003c/a> to watch and discuss a film chosen by a guest selector. \u003c/p>\n\u003cfigure id=\"attachment_13820343\" class=\"wp-caption aligncenter\" style=\"max-width: 675px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyg5irwinross.jpg\" alt=\"Irwin Swirnoff raffling off a Diana Ross LP in Oakland.\" width=\"675\" height=\"586\" class=\"size-full wp-image-13820343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross.jpg 675w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-375x326.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-520x451.jpg 520w\" sizes=\"(max-width: 675px) 100vw, 675px\">\u003cfigcaption class=\"wp-caption-text\">Irwin Swirnoff raffling off a Diana Ross LP in Oakland. \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>January’s film pick comes courtesy of \u003ca href=\"https://ww2.kqed.org/arts/2015/10/23/alive-and-well-and-right-where-he-wants-to-be/\" rel=\"noopener\" target=\"_blank\">Brontez Purnell\u003c/a>, choreographer, dancer, writer, filmmaker and performance artist with a deep and abiding love for \u003ci>A Taste of Honey\u003c/i>. “Next to \u003ci>The Color Purple\u003c/i>,” Purnell says, “this is is one of my favorite films.” \u003c/p>\n\u003cp>After the movie — a gritty depiction of a young woman in working-class Manchester — the conversation in the room is broad and energetic. Imagine returning to the best college film course you never took: discussions of queer theory punctuated by personal exclamations of “I loved it when—!” Swirnoff, a multidisciplinary artist and \u003ca href=\"http://kxsf.fm/shows\" rel=\"noopener\" target=\"_blank\">longtime DJ\u003c/a>, also teaches film courses at Cal State Monterey Bay and USF; he occupies the role of seminar leader with ease.\u003c/p>\n\u003cfigure id=\"attachment_13820347\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez.jpg\" alt=\"The event flyer for the my gaze///yr gaze screening of 'A Taste of Honey.'\" width=\"900\" height=\"684\" class=\"size-full wp-image-13820347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-800x608.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-375x285.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-520x395.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">The event flyer for the my gaze///yr gaze screening of ‘A Taste of Honey.’ \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This post-screening conversation is just as important to Swirnoff as the opportunity to watch interesting and often hard-to-find films. For him, it’s all about gathering a diverse group of people who wouldn’t normally bump into one another. “One of the most exciting parts of the series has been the intergenerational crowds,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For an entire decade plus, there was no bandwidth in the queer community beyond ‘How am I going to help my loved one stay alive another day,’” Swirnoff says. “We’re no longer in crisis, and that’s allowed us to be able to have these other conversations and think about progressive things like gender identity and fluidity.”\u003c/p>\n\u003cfigure id=\"attachment_13820344\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyg2jaipink.jpg\" alt=\"Film selector Jai Carillo holding his choice, James Bidgood's 1971 'Pink Narcissus.'\" width=\"750\" height=\"689\" class=\"size-full wp-image-13820344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-160x147.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-240x220.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-375x345.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-520x478.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Film selector Jai Carillo holding his choice, James Bidgood’s 1971 ‘Pink Narcissus.’ \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swirnoff moved the series to Alley Cat in 2015 (it started in 2013 at the now-defunct Oakland gallery n/a), the same year the Lexington, San Francisco’s last lesbian bar, closed its doors. Against this backdrop of community erasure, Swirnoff says, “It felt doubly important to create this space.” And while bars and clubs are crucial hubs of queer culture, he saw the value in fostering different kinds of interactions — not just dancing and drinking — without the involvement of money or commerce. When there’s an admission price, he notes, an event immediately excludes certain members of the community. \u003c/p>\n\u003cp>Past screenings range from major motion pictures (John Carpenter’s 1988 horror flick \u003ci>They Live\u003c/i>) and art house favorites (Gregg Araki’s 2004 film \u003ci>Mysterious Skin\u003c/i>) to experimental films (Charles Atlas’ 1994 \u003ci>Superhoney\u003c/i>) and foreign LGBTQ cinema. Guest selectors include Bay Area luminaries like Michelle Tea, Sophia Wang and Davia Spain.\u003c/p>\n\u003cfigure id=\"attachment_13820348\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyglawofdesire.jpg\" alt=\"The flyer for the upcoming my gaze///yr gaze screening of 'La Ley Del Deseo (Law Of Desire).'\" width=\"600\" height=\"666\" class=\"size-full wp-image-13820348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-240x266.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-375x416.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for the upcoming my gaze///yr gaze screening of ‘La Ley Del Deseo (Law Of Desire).’ \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next my gaze///yr gaze screening takes place Sunday, Feb. 4, with \u003ca href=\"http://www.darkentriesrecords.com/\" rel=\"noopener\" target=\"_blank\">Dark Entries Records\u003c/a> founder Josh Cheon introducing Pedro Almodóvar’s 1987 film ‘La Ley Del Deseo (Law of Desire).’ According to the event announcement: “Using melodrama to perfection, the film is a sizzling exploration of passion and desire.”\u003c/p>\n\u003cp>“One month it might be super challenging avant garde, super campy and playful, serious, or a weird sci-fi,” Swirnoff says. “It takes us to different places each month and brings a different audience each time.”\u003c/p>\n\u003cfigure id=\"attachment_13820346\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow.jpg\" alt=\"A my gaze///yr gaze flyer in the window of Alley Cat Books for the first San Francisco screening in 2015.\" width=\"1200\" height=\"987\" class=\"size-full wp-image-13820346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-800x658.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-768x632.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-1020x839.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-1180x971.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-960x790.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-240x197.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-375x308.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-520x428.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A my gaze///yr gaze flyer in the window of Alley Cat Books for the first San Francisco screening in 2015. \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And if the post-screening conversation proves too lengthy and energetic for Alley Cat’s back room, there’s always Taqueria Vallarta. “Sometimes people carry on across the street — they’re really fun nights,” Tedesco says.\u003c/p>\n\u003cp>After \u003ci>A Taste of Honey\u003c/i> and a conversation about sexual politics in 1960s England, Swirnoff asks the room if anyone has any events coming up. It’s his way of broadening the connections created over the course of the night.\u003c/p>\n\u003cp>Talking about what’s been lost in the queer community — and in the Bay Area at large — isn’t enough, he says. “What are we doing to maintain what’s great about San Francisco?” Swirnoff asks. “It’s easy to mourn things when they’ve gone, but I try to emphasize that we have to support and champion the things that we still love here. Because if we don’t, they’ll be taken away.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The next my gaze///yr gaze screening, of Pedro Almodóvar’s 1987 film ‘La Ley Del Deseo (Law of Desire),’ takes place Sunday, Feb. 4, 6pm at San Francisco’s Alley Cat Books (3036 24th St). For more information, \u003ca href=\"https://www.facebook.com/events/2002696679948371/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"excerpt": "Each month, Irwin Swirnoff invites a guest to screen and discuss a film in the back room of San Francisco's Alley Cat Books as part of the free series my gaze///yr gaze.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The free raffle is causing uproarious laughter in the back room of San Francisco’s Alley Cat Books. Irwin Swirnoff, organizer of the queer film series \u003ca href=\"https://www.facebook.com/events/2002696679948371/\" rel=\"noopener\" target=\"_blank\">my gaze///yr gaze\u003c/a>, dips his hand into a bag to select the next lucky audience member. The items up for grabs include Queen Latifah’s 2000 autobiography \u003ci>Ladies First\u003c/i>, a 45 of Gloria Gaynor singing “I Will Survive,” and a cassette of British R&B group Soul II Soul, featuring their 1989 single “Keep on Movin.’” \u003c/p>\n\u003cp>“And the winner is… ‘More desperate than Taylor Swift’!” he announces. A young woman sheepishly raises her hand and accepts the bundle of prizes to cheers and applause. \u003c/p>\n\u003cp>Over the course of the night, Swirnoff raffles away four more collections of odds and ends, setting a convivial tone for the night’s main event — a screening of director Tony Richardson’s 1961 film \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/A_Taste_of_Honey_(film)\" rel=\"noopener\" target=\"_blank\">A Taste of Honey\u003c/a>\u003c/i>. On the first Sunday of every month (barring travel or sickness on the part of Swirnoff), a small crowd gathers in the back room of \u003ca href=\"http://www.alleycatbookshop.com/\" rel=\"noopener\" target=\"_blank\">Alley Cat Books\u003c/a> to watch and discuss a film chosen by a guest selector. \u003c/p>\n\u003cfigure id=\"attachment_13820343\" class=\"wp-caption aligncenter\" style=\"max-width: 675px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyg5irwinross.jpg\" alt=\"Irwin Swirnoff raffling off a Diana Ross LP in Oakland.\" width=\"675\" height=\"586\" class=\"size-full wp-image-13820343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross.jpg 675w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-375x326.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-520x451.jpg 520w\" sizes=\"(max-width: 675px) 100vw, 675px\">\u003cfigcaption class=\"wp-caption-text\">Irwin Swirnoff raffling off a Diana Ross LP in Oakland. \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>January’s film pick comes courtesy of \u003ca href=\"https://ww2.kqed.org/arts/2015/10/23/alive-and-well-and-right-where-he-wants-to-be/\" rel=\"noopener\" target=\"_blank\">Brontez Purnell\u003c/a>, choreographer, dancer, writer, filmmaker and performance artist with a deep and abiding love for \u003ci>A Taste of Honey\u003c/i>. “Next to \u003ci>The Color Purple\u003c/i>,” Purnell says, “this is is one of my favorite films.” \u003c/p>\n\u003cp>After the movie — a gritty depiction of a young woman in working-class Manchester — the conversation in the room is broad and energetic. Imagine returning to the best college film course you never took: discussions of queer theory punctuated by personal exclamations of “I loved it when—!” Swirnoff, a multidisciplinary artist and \u003ca href=\"http://kxsf.fm/shows\" rel=\"noopener\" target=\"_blank\">longtime DJ\u003c/a>, also teaches film courses at Cal State Monterey Bay and USF; he occupies the role of seminar leader with ease.\u003c/p>\n\u003cfigure id=\"attachment_13820347\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez.jpg\" alt=\"The event flyer for the my gaze///yr gaze screening of 'A Taste of Honey.'\" width=\"900\" height=\"684\" class=\"size-full wp-image-13820347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-800x608.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-375x285.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-520x395.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">The event flyer for the my gaze///yr gaze screening of ‘A Taste of Honey.’ \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This post-screening conversation is just as important to Swirnoff as the opportunity to watch interesting and often hard-to-find films. For him, it’s all about gathering a diverse group of people who wouldn’t normally bump into one another. “One of the most exciting parts of the series has been the intergenerational crowds,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For an entire decade plus, there was no bandwidth in the queer community beyond ‘How am I going to help my loved one stay alive another day,’” Swirnoff says. “We’re no longer in crisis, and that’s allowed us to be able to have these other conversations and think about progressive things like gender identity and fluidity.”\u003c/p>\n\u003cfigure id=\"attachment_13820344\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyg2jaipink.jpg\" alt=\"Film selector Jai Carillo holding his choice, James Bidgood's 1971 'Pink Narcissus.'\" width=\"750\" height=\"689\" class=\"size-full wp-image-13820344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-160x147.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-240x220.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-375x345.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-520x478.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Film selector Jai Carillo holding his choice, James Bidgood’s 1971 ‘Pink Narcissus.’ \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swirnoff moved the series to Alley Cat in 2015 (it started in 2013 at the now-defunct Oakland gallery n/a), the same year the Lexington, San Francisco’s last lesbian bar, closed its doors. Against this backdrop of community erasure, Swirnoff says, “It felt doubly important to create this space.” And while bars and clubs are crucial hubs of queer culture, he saw the value in fostering different kinds of interactions — not just dancing and drinking — without the involvement of money or commerce. When there’s an admission price, he notes, an event immediately excludes certain members of the community. \u003c/p>\n\u003cp>Past screenings range from major motion pictures (John Carpenter’s 1988 horror flick \u003ci>They Live\u003c/i>) and art house favorites (Gregg Araki’s 2004 film \u003ci>Mysterious Skin\u003c/i>) to experimental films (Charles Atlas’ 1994 \u003ci>Superhoney\u003c/i>) and foreign LGBTQ cinema. Guest selectors include Bay Area luminaries like Michelle Tea, Sophia Wang and Davia Spain.\u003c/p>\n\u003cfigure id=\"attachment_13820348\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyglawofdesire.jpg\" alt=\"The flyer for the upcoming my gaze///yr gaze screening of 'La Ley Del Deseo (Law Of Desire).'\" width=\"600\" height=\"666\" class=\"size-full wp-image-13820348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-240x266.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-375x416.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for the upcoming my gaze///yr gaze screening of ‘La Ley Del Deseo (Law Of Desire).’ \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next my gaze///yr gaze screening takes place Sunday, Feb. 4, with \u003ca href=\"http://www.darkentriesrecords.com/\" rel=\"noopener\" target=\"_blank\">Dark Entries Records\u003c/a> founder Josh Cheon introducing Pedro Almodóvar’s 1987 film ‘La Ley Del Deseo (Law of Desire).’ According to the event announcement: “Using melodrama to perfection, the film is a sizzling exploration of passion and desire.”\u003c/p>\n\u003cp>“One month it might be super challenging avant garde, super campy and playful, serious, or a weird sci-fi,” Swirnoff says. “It takes us to different places each month and brings a different audience each time.”\u003c/p>\n\u003cfigure id=\"attachment_13820346\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow.jpg\" alt=\"A my gaze///yr gaze flyer in the window of Alley Cat Books for the first San Francisco screening in 2015.\" width=\"1200\" height=\"987\" class=\"size-full wp-image-13820346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-800x658.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-768x632.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-1020x839.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-1180x971.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-960x790.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-240x197.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-375x308.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-520x428.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A my gaze///yr gaze flyer in the window of Alley Cat Books for the first San Francisco screening in 2015. \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And if the post-screening conversation proves too lengthy and energetic for Alley Cat’s back room, there’s always Taqueria Vallarta. “Sometimes people carry on across the street — they’re really fun nights,” Tedesco says.\u003c/p>\n\u003cp>After \u003ci>A Taste of Honey\u003c/i> and a conversation about sexual politics in 1960s England, Swirnoff asks the room if anyone has any events coming up. It’s his way of broadening the connections created over the course of the night.\u003c/p>\n\u003cp>Talking about what’s been lost in the queer community — and in the Bay Area at large — isn’t enough, he says. “What are we doing to maintain what’s great about San Francisco?” Swirnoff asks. “It’s easy to mourn things when they’ve gone, but I try to emphasize that we have to support and champion the things that we still love here. Because if we don’t, they’ll be taken away.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The next my gaze///yr gaze screening, of Pedro Almodóvar’s 1987 film ‘La Ley Del Deseo (Law of Desire),’ takes place Sunday, Feb. 4, 6pm at San Francisco’s Alley Cat Books (3036 24th St). For more information, \u003ca href=\"https://www.facebook.com/events/2002696679948371/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "ACT's New Artistic Leader Shares Vision for Flagship Bay Area Theater",
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"content": "\u003cp>This week, the American Conservatory Theater (A.C.T.) hired a new artistic director. Pam MacKinnon comes to San Francisco with a slew of Broadway credits and accolades — including a Tony Award — to her name. KQED caught up with her at A.C.T.’s office in downtown San Francisco the day after the appointment was announced to find out more about the director’s vision for the Bay Area’s flagship theater company.\u003c/p>\n\u003cp>[contextly_sidebar id=”YzUpb1ornxz5VYDAJVqoKH6hyNZxQ5u5″]\u003c/p>\n\u003cp>\u003cstrong> You have a powerful career in New York with many Broadway credits. Why does coming to San Francisco seem like a good career move for you at this stage?\u003c/strong>\u003c/p>\n\u003cp>I’ve always been a freelance director. I’ve never been attached to an institution and I’ve thought about it for a number of years. When the opportunity at A.C.T. came up, it struck me as an interesting thing to pursue because I am very interested in moving beyond simply thinking about my own work. I want to continue my own work, but I don’t want that to simply be what I do. I want to have the opportunity to think beyond my own rehearsal hall, to make marriages with great artists, to think about social justice, to become a more politically engaged person in a community as an artist telling stories. That’s what an institution can afford.\u003c/p>\n\u003cp>\u003cstrong>But why A.C.T.? Why San Francisco? A lot of people consider this to be a bit of a theatrical backwater.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oh, I don’t consider it a backwater at all. There are so many smaller companies in addition to A.C.T. — Berkeley Rep and TheatreWorks that are producing great work, work with playwrights that I feel very close to. And it’s a scene that’s on the rise. A.C.T. is part of that. A.C.T. is also a flagship regional theater with an incredible 50-year-plus history. It has the Geary Theater, which is that traditional, big-bones, “Broadway” house that I’ve been directing in these last six years with my Broadway career. So that feels like a home base. That’s something that I continue to want to explore. What are the stories for those big rooms? And then to also have these smaller, newer spaces at the Strand, which are just ripe with potential. And how do those spaces all then talk to each other? It feels like a very exciting time for this theater and San Francisco.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Acceptance Speech: Pam MacKinnon (2013)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/IN16XLBwFTk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>What would you say are your two or three biggest priorities?\u003c/strong>\u003c/p>\n\u003cp>I’m already in the throes of season programming. Carey [Perloff, the outgoing artistic director] and I are programming the next season together. So that’s already started, me hitting the ground running. I also really want to understand a bit more, learn a bit more. This is an amazing organization that in addition to what they put on their stages, has an MFA training program, a conservatory program, a young conservatory program, a commissioning wing, and an education and community outreach program. It’s just this multifaceted, gigantic organization that it’s my turn to dig into. I’m calling this moment a “listening tour” where I get to go in as the new person and at times ask the naive questions, which I think an organization that has been sort of dealing with the day-to-day sometimes forgets to ask. Like, “what is the umbrella?” “What is the bird’s eye view?” “How does this actually relate to our mission statement?” And I think this is a crucial time to relate back to the mission statement.\u003c/p>\n\u003cp>\u003cstrong>Presumably listening is something you will continue to do beyond your initial “listening tour.” How long do you expect this initial listening period to last?\u003c/strong>\u003c/p>\n\u003cp>How can I know? I become the artistic director on July 1. Of course I will continue to listen. But I am the artistic leader of this organization. So at a certain point, it’s not about not listening anymore, but it’s actually about actualizing things and putting things into practice.\u003c/p>\n\u003cp>\u003cstrong>And do you have a sense of what some of those things might be?\u003c/strong>\u003c/p>\n\u003cp>No.\u003c/p>\n\u003cp>\u003cstrong>What about some of the actual artists and plays you’re thinking about? What work might we expect to see?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13819922\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819922\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-800x1200.jpg\" alt=\"Pam MacKinnon photographed at the New York Times studio in New York in 2013. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pam MacKinnon photographed at the New York Times’ studio in New York in 2013. \u003ccite>(Photo: Chad Batka )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s way too early to get super specific. I certainly come from a background of new plays as well as American classics. Carey and I are both interested in plays that have interesting language, that use language as action. So that will continue. In some respects I have much more sort of a big experience in the American, “big-bone” plays as well as a big interest in new plays. So expect more of that than what has been on A.C.T.’s stages in the last few years.\u003c/p>\n\u003cp>\u003cstrong>So will we see more of playwrights you’ve championed in the past, like Edward Albee and Itamar Moses for example?\u003c/strong>\u003c/p>\n\u003cp>Absolutely, and Bruce Norris. I’d love to get Bruce back here, as well as younger writers. I have a longstanding relationship with a downtown New York company called Clubbed Thumb, and want to continue to support younger writers. Also, you think of the Strand perhaps as, “that’s where the new plays belong.” I’m also really interested in getting writers to think of the Geary as a place for a new play, and think about writing a play that can survive in the 1,000-seat room. Plays used to be written with that in mind. Some plays shouldn’t be put into that space, but others should be there, and I want to encourage writers to write for the Geary as well as the Strand.\u003c/p>\n\u003cp>\u003cstrong>That strikes me as a huge risk, because the Geary is such a huge space. Unless you’re talking about a playwright with the track record and brand recognition of Edward Albee, I imagine it would be hard to fill. Even Broadway theaters can’t sell plays anymore.\u003c/strong>\u003c/p>\n\u003cp>But the gift of the Geary is also that it’s only a four-and-a-half-week run. Broadway has a very particular model. It’s a very different world.\u003c/p>\n\u003cfigure id=\"attachment_13819927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/AM1-800x532.jpg\" alt=\"A scene from Pam MacKinnon's world premiere production of 'Amélie' at Berkeley Repertory Theatre. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Pam MacKinnon’s world premiere production of ‘Amélie’ at Berkeley Repertory Theatre. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What would you say, from where you’re standing now, seem to be the biggest challenges you face going forward with this new gig?\u003c/strong>\u003c/p>\n\u003cp>It’s challenges and opportunities. Programming the Geary is hard. That’s a challenge. As is bringing new audiences into the fold. The tech industry and tech employees tend not to be that interested in live theater — well, why not? What are some stories that maybe will bring them in and make them then interested in other stories? I don’t think it’s about putting stories about people who work in tech on stage. What excites me about theater is seeing stuff that I don’t immediately relate to. And then all of a sudden you’re in a story that is at once so personal and universal you get sucked in. What are some stories that can be gateway introductions to hook people?\u003c/p>\n\u003cp>\u003cstrong>For example?\u003c/strong>\u003c/p>\n\u003cp>A.C.T.’s associate artistic director Andy Donald and I have talked a lot about sports plays. I’ve been developing a sports play with [playwright] Lydia Diamond. It’s a play about this woman, Toni Stone, who was a longtime resident of San Francisco and then Oakland. She was the first woman to play baseball in the Negro Leagues in the late 1940s. Lydia and I have been in development of this play for probably five years. It’s an amazing story of an amazing woman that should be told in the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>A.C.T. has a long, standout legacy of having a resident company of actors. The resident company doesn’t exist at A.C.T. these days. What are your views on resident companies? Do you think this will be part of your focus going forward?\u003c/strong>\u003c/p>\n\u003cp>There is an incredible talent pool in the Bay Area that I want to get to know. But moving forward the next couple years, I do not see A.C.T. reinstating its core acting company. There’s so much stuff going on, that would be an addition as opposed to a deepening of what is already here.\u003c/p>\n\u003cp>\u003cstrong>Are you still living in New York or have you moved yet?\u003c/strong>\u003c/p>\n\u003cp>I still have a lot of commitments in New York and am directing a show in the spring, prior to coming out here. My partner, actor John Procaccino, and I decided to take the pressure off a little bit. And so instead of moving to San Francisco and packing everything up and immediately throwing a dart or hanging out with a real estate agent and seeing a ton of places, we’re going to AirBnB it for a little while. We’d like to learn about the city before making a crazy commitment.\u003c/p>\n\u003cp>\u003cstrong>That’s smart. One last question: what are you most excited about beyond the job stuff?\u003c/strong>\u003c/p>\n\u003cp>I’m really looking forward to a chapter in my life where I am minutes away from awe-inspiring natural beauty. San Francisco has that.\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, the American Conservatory Theater (A.C.T.) hired a new artistic director. Pam MacKinnon comes to San Francisco with a slew of Broadway credits and accolades — including a Tony Award — to her name. KQED caught up with her at A.C.T.’s office in downtown San Francisco the day after the appointment was announced to find out more about the director’s vision for the Bay Area’s flagship theater company.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong> You have a powerful career in New York with many Broadway credits. Why does coming to San Francisco seem like a good career move for you at this stage?\u003c/strong>\u003c/p>\n\u003cp>I’ve always been a freelance director. I’ve never been attached to an institution and I’ve thought about it for a number of years. When the opportunity at A.C.T. came up, it struck me as an interesting thing to pursue because I am very interested in moving beyond simply thinking about my own work. I want to continue my own work, but I don’t want that to simply be what I do. I want to have the opportunity to think beyond my own rehearsal hall, to make marriages with great artists, to think about social justice, to become a more politically engaged person in a community as an artist telling stories. That’s what an institution can afford.\u003c/p>\n\u003cp>\u003cstrong>But why A.C.T.? Why San Francisco? A lot of people consider this to be a bit of a theatrical backwater.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oh, I don’t consider it a backwater at all. There are so many smaller companies in addition to A.C.T. — Berkeley Rep and TheatreWorks that are producing great work, work with playwrights that I feel very close to. And it’s a scene that’s on the rise. A.C.T. is part of that. A.C.T. is also a flagship regional theater with an incredible 50-year-plus history. It has the Geary Theater, which is that traditional, big-bones, “Broadway” house that I’ve been directing in these last six years with my Broadway career. So that feels like a home base. That’s something that I continue to want to explore. What are the stories for those big rooms? And then to also have these smaller, newer spaces at the Strand, which are just ripe with potential. And how do those spaces all then talk to each other? It feels like a very exciting time for this theater and San Francisco.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Acceptance Speech: Pam MacKinnon (2013)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/IN16XLBwFTk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>What would you say are your two or three biggest priorities?\u003c/strong>\u003c/p>\n\u003cp>I’m already in the throes of season programming. Carey [Perloff, the outgoing artistic director] and I are programming the next season together. So that’s already started, me hitting the ground running. I also really want to understand a bit more, learn a bit more. This is an amazing organization that in addition to what they put on their stages, has an MFA training program, a conservatory program, a young conservatory program, a commissioning wing, and an education and community outreach program. It’s just this multifaceted, gigantic organization that it’s my turn to dig into. I’m calling this moment a “listening tour” where I get to go in as the new person and at times ask the naive questions, which I think an organization that has been sort of dealing with the day-to-day sometimes forgets to ask. Like, “what is the umbrella?” “What is the bird’s eye view?” “How does this actually relate to our mission statement?” And I think this is a crucial time to relate back to the mission statement.\u003c/p>\n\u003cp>\u003cstrong>Presumably listening is something you will continue to do beyond your initial “listening tour.” How long do you expect this initial listening period to last?\u003c/strong>\u003c/p>\n\u003cp>How can I know? I become the artistic director on July 1. Of course I will continue to listen. But I am the artistic leader of this organization. So at a certain point, it’s not about not listening anymore, but it’s actually about actualizing things and putting things into practice.\u003c/p>\n\u003cp>\u003cstrong>And do you have a sense of what some of those things might be?\u003c/strong>\u003c/p>\n\u003cp>No.\u003c/p>\n\u003cp>\u003cstrong>What about some of the actual artists and plays you’re thinking about? What work might we expect to see?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13819922\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819922\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-800x1200.jpg\" alt=\"Pam MacKinnon photographed at the New York Times studio in New York in 2013. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pam MacKinnon photographed at the New York Times’ studio in New York in 2013. \u003ccite>(Photo: Chad Batka )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s way too early to get super specific. I certainly come from a background of new plays as well as American classics. Carey and I are both interested in plays that have interesting language, that use language as action. So that will continue. In some respects I have much more sort of a big experience in the American, “big-bone” plays as well as a big interest in new plays. So expect more of that than what has been on A.C.T.’s stages in the last few years.\u003c/p>\n\u003cp>\u003cstrong>So will we see more of playwrights you’ve championed in the past, like Edward Albee and Itamar Moses for example?\u003c/strong>\u003c/p>\n\u003cp>Absolutely, and Bruce Norris. I’d love to get Bruce back here, as well as younger writers. I have a longstanding relationship with a downtown New York company called Clubbed Thumb, and want to continue to support younger writers. Also, you think of the Strand perhaps as, “that’s where the new plays belong.” I’m also really interested in getting writers to think of the Geary as a place for a new play, and think about writing a play that can survive in the 1,000-seat room. Plays used to be written with that in mind. Some plays shouldn’t be put into that space, but others should be there, and I want to encourage writers to write for the Geary as well as the Strand.\u003c/p>\n\u003cp>\u003cstrong>That strikes me as a huge risk, because the Geary is such a huge space. Unless you’re talking about a playwright with the track record and brand recognition of Edward Albee, I imagine it would be hard to fill. Even Broadway theaters can’t sell plays anymore.\u003c/strong>\u003c/p>\n\u003cp>But the gift of the Geary is also that it’s only a four-and-a-half-week run. Broadway has a very particular model. It’s a very different world.\u003c/p>\n\u003cfigure id=\"attachment_13819927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/AM1-800x532.jpg\" alt=\"A scene from Pam MacKinnon's world premiere production of 'Amélie' at Berkeley Repertory Theatre. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Pam MacKinnon’s world premiere production of ‘Amélie’ at Berkeley Repertory Theatre. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What would you say, from where you’re standing now, seem to be the biggest challenges you face going forward with this new gig?\u003c/strong>\u003c/p>\n\u003cp>It’s challenges and opportunities. Programming the Geary is hard. That’s a challenge. As is bringing new audiences into the fold. The tech industry and tech employees tend not to be that interested in live theater — well, why not? What are some stories that maybe will bring them in and make them then interested in other stories? I don’t think it’s about putting stories about people who work in tech on stage. What excites me about theater is seeing stuff that I don’t immediately relate to. And then all of a sudden you’re in a story that is at once so personal and universal you get sucked in. What are some stories that can be gateway introductions to hook people?\u003c/p>\n\u003cp>\u003cstrong>For example?\u003c/strong>\u003c/p>\n\u003cp>A.C.T.’s associate artistic director Andy Donald and I have talked a lot about sports plays. I’ve been developing a sports play with [playwright] Lydia Diamond. It’s a play about this woman, Toni Stone, who was a longtime resident of San Francisco and then Oakland. She was the first woman to play baseball in the Negro Leagues in the late 1940s. Lydia and I have been in development of this play for probably five years. It’s an amazing story of an amazing woman that should be told in the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>A.C.T. has a long, standout legacy of having a resident company of actors. The resident company doesn’t exist at A.C.T. these days. What are your views on resident companies? Do you think this will be part of your focus going forward?\u003c/strong>\u003c/p>\n\u003cp>There is an incredible talent pool in the Bay Area that I want to get to know. But moving forward the next couple years, I do not see A.C.T. reinstating its core acting company. There’s so much stuff going on, that would be an addition as opposed to a deepening of what is already here.\u003c/p>\n\u003cp>\u003cstrong>Are you still living in New York or have you moved yet?\u003c/strong>\u003c/p>\n\u003cp>I still have a lot of commitments in New York and am directing a show in the spring, prior to coming out here. My partner, actor John Procaccino, and I decided to take the pressure off a little bit. And so instead of moving to San Francisco and packing everything up and immediately throwing a dart or hanging out with a real estate agent and seeing a ton of places, we’re going to AirBnB it for a little while. We’d like to learn about the city before making a crazy commitment.\u003c/p>\n\u003cp>\u003cstrong>That’s smart. One last question: what are you most excited about beyond the job stuff?\u003c/strong>\u003c/p>\n\u003cp>I’m really looking forward to a chapter in my life where I am minutes away from awe-inspiring natural beauty. San Francisco has that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Personal Transformation Becomes Public in ‘Surface Tension’",
"headTitle": "A Personal Transformation Becomes Public in ‘Surface Tension’ | KQED",
"content": "\u003cp>In early 2017, San Francisco-based curator \u003ca href=\"https://dorothysantos.com/bio/\" target=\"_blank\" rel=\"noopener\">Dorothy R. Santos\u003c/a> witnessed a performance by multimedia artist \u003ca href=\"http://www.josephliatela.com/\" target=\"_blank\" rel=\"noopener\">Joseph Liatela\u003c/a> at the opening reception for \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/on-and-off-our-backs-were-still-working-the-art-of-sex-work-at-somarts/\" target=\"_blank\" rel=\"noopener\">\u003ci>We’re Still Working: The Art of Sex Work\u003c/i>\u003c/a> at San Francisco’s SOMArts Cultural Center. Santos, who maintains a dynamic creative practice focused on digital art and the overlap of biology and technology, immediately approached Liatela about a possible collaboration.\u003c/p>\n\u003cp>That first dialogue lead to additional conversations about visibility, surveillance, and how identity that rejects oppressive binary definition may be portrayed in contemporary art. Open through Feb. 16 at the Center for Sex & Culture, \u003cem>Surface Tension\u003c/em> — Liatela’s first solo exhibition — represents their year-long collaboration with Santos, and visualizes a potent personal transformation.\u003c/p>\n\u003cfigure id=\"attachment_13819506\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819506\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2.jpg\" alt=\"Joseph Liatela, Installation view of 'Surface Tension I-IV,' 2017.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Liatela, Installation view of ‘Surface Tension I-IV,’ 2017. \u003ccite>(Kimberley Acebo Arteche)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I arrive at the Center for Sex & Culture (CSC) with enough time to view the installation before interviewing Liatela and Santos. Hung opposite the small but solid library and media archive for which the Center is known worldwide, \u003cem>Surface Tension I-IV\u003c/em> immediately draws my attention. Printed on swaths of silk and organza suspended from the ceiling, the four photo objects invite us to witness the gradual shedding of Liatela’s identity as they transitioned.\u003c/p>\n\u003cp>The organza, draped delicately like a diaphanous blouse that barely masks the artist’s evolving form, is absent from the sequence’s final image. What is revealed is the artist’s altered torso, chest proud and arms spread wide, unburdened by disguise. It captures, with subtlety and precision, a range of emotions — trepidation, joy, relief — that many transgender people feel when exposing the body that fits them to the world at large.\u003c/p>\n\u003cp>Any movement in the gallery causes the objects to flutter gently, a quality made more notable by the not-so-gentle surgical scars revealed in the photographs and the sutures that bind the tensile materials. Liatela and Santos both aver violence is an element in the work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But rather than associate that violence with harmful (though recently modified) medical perspectives that link a desire to transition to mental illness, Liatela views the ruptured silk surface as symbolic of a physical and emotional breakthrough. In other words, out of violence emerges new growth and new life.\u003c/p>\n\u003cfigure id=\"attachment_13819505\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3.jpg\" alt=\"Joseph Liatela, Installation view of 'Cloaked,' 2017.\" width=\"2048\" height=\"1569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-800x613.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-1020x782.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-1920x1471.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-1180x904.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-960x736.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-375x287.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-520x398.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Liatela, Installation view of ‘Cloaked,’ 2017. \u003ccite>(Kimberley Acebo Arteche)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sculpture called \u003cem>Cloaked\u003c/em> anchors the exhibition. Comprising disparate materials, including latex, nylon, and archival photo transfers, the sculpture hangs from an intimidating metal hook and spreads across the floor in a way that makes visitors aware of their own movements in the space.\u003c/p>\n\u003cp>Where \u003cem>Surface Tension I-IV\u003c/em> suggests motion, \u003cem>Cloaked\u003c/em> appears leaden despite the relatively light materials Liatela used in its construction. The piece demands a physical and psychological reckoning.\u003c/p>\n\u003cp>The piece — and its creation by an artist whose identity results in automatic social marginalization — reminds me of Angela Hennessy’s \u003ca href=\"http://www.angelahennessy.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Black Hole\u003c/i>\u003c/a>, which was on view recently in her \u003ca href=\"https://ww2.kqed.org/arts/2017/10/26/angela-hennessy-southern-exposure-when-and-where-i-enter/\" target=\"_blank\" rel=\"noopener\">superb solo exhibition at Southern Exposure\u003c/a>. Both \u003cem>Cloaked\u003c/em> and \u003cem>Black Hole\u003c/em> elicit psychological responses similar to those created by Richard Serra’s imposing floor pieces, an effect intensified by knowing Hennessy and Liatela aren’t the artists (white, male-identified, gruff) traditionally encouraged to take up space.\u003c/p>\n\u003cfigure id=\"attachment_13819504\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819504\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4.jpg\" alt=\"Joseph Liatela, 'Cloaked (detail),' 2017.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Liatela, ‘Cloaked (detail),’ 2017. \u003ccite>(Kimberley Acebo Arteche)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Surface Tension\u003c/em> reveals one person’s singular and personal journey through transition and the psycho-physiological effects of that journey. If our brief view of that experience is the sole takeaway from the exhibition, it would be a triumph.\u003c/p>\n\u003cp>Liatela and Santos go beyond the personal, however, and encourage us to think about critical issues that impact all of our lives, but especially those of trans men and women: surveillance, or who is welcome in public spaces; the medical establishment and how it is implicated in determining who receives treatment and at what cost; bodily sovereignty, and how it’s \u003cem>no one’s\u003c/em> business what do you or don’t have between your legs.\u003c/p>\n\u003cp>\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/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Surface Tension’ is on view at the Center for Sex & Culture in San Francisco through Feb. 16, 2018. A conversation between the artist and theorist Julian Carter takes place Feb. 5 at 7pm. For more information, \u003ca href=\"http://www.sexandculture.org/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In early 2017, San Francisco-based curator \u003ca href=\"https://dorothysantos.com/bio/\" target=\"_blank\" rel=\"noopener\">Dorothy R. Santos\u003c/a> witnessed a performance by multimedia artist \u003ca href=\"http://www.josephliatela.com/\" target=\"_blank\" rel=\"noopener\">Joseph Liatela\u003c/a> at the opening reception for \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/on-and-off-our-backs-were-still-working-the-art-of-sex-work-at-somarts/\" target=\"_blank\" rel=\"noopener\">\u003ci>We’re Still Working: The Art of Sex Work\u003c/i>\u003c/a> at San Francisco’s SOMArts Cultural Center. Santos, who maintains a dynamic creative practice focused on digital art and the overlap of biology and technology, immediately approached Liatela about a possible collaboration.\u003c/p>\n\u003cp>That first dialogue lead to additional conversations about visibility, surveillance, and how identity that rejects oppressive binary definition may be portrayed in contemporary art. Open through Feb. 16 at the Center for Sex & Culture, \u003cem>Surface Tension\u003c/em> — Liatela’s first solo exhibition — represents their year-long collaboration with Santos, and visualizes a potent personal transformation.\u003c/p>\n\u003cfigure id=\"attachment_13819506\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819506\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2.jpg\" alt=\"Joseph Liatela, Installation view of 'Surface Tension I-IV,' 2017.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-2-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Liatela, Installation view of ‘Surface Tension I-IV,’ 2017. \u003ccite>(Kimberley Acebo Arteche)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I arrive at the Center for Sex & Culture (CSC) with enough time to view the installation before interviewing Liatela and Santos. Hung opposite the small but solid library and media archive for which the Center is known worldwide, \u003cem>Surface Tension I-IV\u003c/em> immediately draws my attention. Printed on swaths of silk and organza suspended from the ceiling, the four photo objects invite us to witness the gradual shedding of Liatela’s identity as they transitioned.\u003c/p>\n\u003cp>The organza, draped delicately like a diaphanous blouse that barely masks the artist’s evolving form, is absent from the sequence’s final image. What is revealed is the artist’s altered torso, chest proud and arms spread wide, unburdened by disguise. It captures, with subtlety and precision, a range of emotions — trepidation, joy, relief — that many transgender people feel when exposing the body that fits them to the world at large.\u003c/p>\n\u003cp>Any movement in the gallery causes the objects to flutter gently, a quality made more notable by the not-so-gentle surgical scars revealed in the photographs and the sutures that bind the tensile materials. Liatela and Santos both aver violence is an element in the work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But rather than associate that violence with harmful (though recently modified) medical perspectives that link a desire to transition to mental illness, Liatela views the ruptured silk surface as symbolic of a physical and emotional breakthrough. In other words, out of violence emerges new growth and new life.\u003c/p>\n\u003cfigure id=\"attachment_13819505\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3.jpg\" alt=\"Joseph Liatela, Installation view of 'Cloaked,' 2017.\" width=\"2048\" height=\"1569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-800x613.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-1020x782.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-1920x1471.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-1180x904.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-960x736.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-375x287.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-3-520x398.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Liatela, Installation view of ‘Cloaked,’ 2017. \u003ccite>(Kimberley Acebo Arteche)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sculpture called \u003cem>Cloaked\u003c/em> anchors the exhibition. Comprising disparate materials, including latex, nylon, and archival photo transfers, the sculpture hangs from an intimidating metal hook and spreads across the floor in a way that makes visitors aware of their own movements in the space.\u003c/p>\n\u003cp>Where \u003cem>Surface Tension I-IV\u003c/em> suggests motion, \u003cem>Cloaked\u003c/em> appears leaden despite the relatively light materials Liatela used in its construction. The piece demands a physical and psychological reckoning.\u003c/p>\n\u003cp>The piece — and its creation by an artist whose identity results in automatic social marginalization — reminds me of Angela Hennessy’s \u003ca href=\"http://www.angelahennessy.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Black Hole\u003c/i>\u003c/a>, which was on view recently in her \u003ca href=\"https://ww2.kqed.org/arts/2017/10/26/angela-hennessy-southern-exposure-when-and-where-i-enter/\" target=\"_blank\" rel=\"noopener\">superb solo exhibition at Southern Exposure\u003c/a>. Both \u003cem>Cloaked\u003c/em> and \u003cem>Black Hole\u003c/em> elicit psychological responses similar to those created by Richard Serra’s imposing floor pieces, an effect intensified by knowing Hennessy and Liatela aren’t the artists (white, male-identified, gruff) traditionally encouraged to take up space.\u003c/p>\n\u003cfigure id=\"attachment_13819504\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819504\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4.jpg\" alt=\"Joseph Liatela, 'Cloaked (detail),' 2017.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/surface-tension-install-shot-for-press-4-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Liatela, ‘Cloaked (detail),’ 2017. \u003ccite>(Kimberley Acebo Arteche)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Surface Tension\u003c/em> reveals one person’s singular and personal journey through transition and the psycho-physiological effects of that journey. If our brief view of that experience is the sole takeaway from the exhibition, it would be a triumph.\u003c/p>\n\u003cp>Liatela and Santos go beyond the personal, however, and encourage us to think about critical issues that impact all of our lives, but especially those of trans men and women: surveillance, or who is welcome in public spaces; the medical establishment and how it is implicated in determining who receives treatment and at what cost; bodily sovereignty, and how it’s \u003cem>no one’s\u003c/em> business what do you or don’t have between your legs.\u003c/p>\n\u003cp>\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/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Surface Tension’ is on view at the Center for Sex & Culture in San Francisco through Feb. 16, 2018. A conversation between the artist and theorist Julian Carter takes place Feb. 5 at 7pm. For more information, \u003ca href=\"http://www.sexandculture.org/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pam MacKinnon Named New Artistic Director for ACT",
"headTitle": "Pam MacKinnon Named New Artistic Director for ACT | KQED",
"content": "\u003cp>Pam MacKinnon, the New York-based, Tony-winning theatre director, has been named the new artistic director for A.C.T., the organization announced today.\u003c/p>\n\u003cp>MacKinnon replaces longtime artistic director Carey Perloff, who will step down after the 2017–18 season after 25 years with A.C.T.\u003c/p>\n\u003cp>A director proficient in the plays of Edward Albee, MacKinnon won the Tony Award for best director for the 2012-13 run of \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> at the Booth Theatre. MacKinnon also directed the 2011 Broadway production of \u003cem>Clybourne Park\u003c/em>, by Bruce Norris, garnering a Tony Award nomination for best director yet again.\u003c/p>\n\u003cp>MacKinnon, also an OBIE and Drama Desk award recipient, is known for her unflinching portrayals of the human experience. \u003c/p>\n\u003cp>“I look for fully rounded characters,” MacKinnon \u003ca href=\"https://broadwaydirect.com/women-helm-pam-mackinnon/\" rel=\"noopener\" target=\"_blank\">told Broadway Direct in 2017\u003c/a>. “I want women and men to be portrayed as messy human beings, because that’s the way we go through life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>MacKinnon will plan the 2018-2019 season side-by-side with Perloff. “I am eager to build on the company’s rich legacy of artistic excellence and expand the vision and achievements of Carey Perloff, Edward Hastings, and founder William Ball to ensure that A.C.T. remains at the forefront of American theater,” MacKinnon said in a statement. “I look forward to furthering A.C.T. as a creative home for world-class artists and a place of rigorous artistic exploration and commitment in the Bay Area.”\u003c/p>\n\u003cp>MacKinnon will also partner with the heads of A.C.T.’s actor training programs and community programs. \u003c/p>\n\u003cp>Uma Thurman, who is currently starring in Beau Willimon’s \u003cem>The Parisian Woman\u003c/em> on Broadway, directed by MacKinnon, praised A.C.T.’s choice in a short, simple statement.\u003c/p>\n\u003cp>“New York’s loss,” Thurman said in a statement. “Pure gold, Pam MacKinnon, to whom I am forever grateful. Congratulations, San Francisco!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pam MacKinnon, the New York-based, Tony-winning theatre director, has been named the new artistic director for A.C.T., the organization announced today.\u003c/p>\n\u003cp>MacKinnon replaces longtime artistic director Carey Perloff, who will step down after the 2017–18 season after 25 years with A.C.T.\u003c/p>\n\u003cp>A director proficient in the plays of Edward Albee, MacKinnon won the Tony Award for best director for the 2012-13 run of \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> at the Booth Theatre. MacKinnon also directed the 2011 Broadway production of \u003cem>Clybourne Park\u003c/em>, by Bruce Norris, garnering a Tony Award nomination for best director yet again.\u003c/p>\n\u003cp>MacKinnon, also an OBIE and Drama Desk award recipient, is known for her unflinching portrayals of the human experience. \u003c/p>\n\u003cp>“I look for fully rounded characters,” MacKinnon \u003ca href=\"https://broadwaydirect.com/women-helm-pam-mackinnon/\" rel=\"noopener\" target=\"_blank\">told Broadway Direct in 2017\u003c/a>. “I want women and men to be portrayed as messy human beings, because that’s the way we go through life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>MacKinnon will plan the 2018-2019 season side-by-side with Perloff. “I am eager to build on the company’s rich legacy of artistic excellence and expand the vision and achievements of Carey Perloff, Edward Hastings, and founder William Ball to ensure that A.C.T. remains at the forefront of American theater,” MacKinnon said in a statement. “I look forward to furthering A.C.T. as a creative home for world-class artists and a place of rigorous artistic exploration and commitment in the Bay Area.”\u003c/p>\n\u003cp>MacKinnon will also partner with the heads of A.C.T.’s actor training programs and community programs. \u003c/p>\n\u003cp>Uma Thurman, who is currently starring in Beau Willimon’s \u003cem>The Parisian Woman\u003c/em> on Broadway, directed by MacKinnon, praised A.C.T.’s choice in a short, simple statement.\u003c/p>\n\u003cp>“New York’s loss,” Thurman said in a statement. “Pure gold, Pam MacKinnon, to whom I am forever grateful. Congratulations, San Francisco!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ursula K. Le Guin, Whose Novels Plucked Truth From High Fantasy, Dies At 88",
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"content": "\u003cp>Ursula K. Le Guin, a prolific novelist best known for the Earthsea series and \u003cem>The Left Hand of Darkness\u003c/em>, died Monday at the age of 88 in Portland, Ore. Across more than 20 novels and scores of short stories, Le Guin crafted fantastic worlds to grapple with profoundly difficult questions here on Earth, from class divisions to feminist theory.\u003c/p>\n\u003cp>Her agent Ginger Clark confirmed Le Guin’s death to NPR.\u003c/p>\n\u003cp>Across the decadeslong span of her career — from her first short story submission at the age of 11, to her tireless work well into her 80s — Le Guin stood as a towering figure in science fiction and fantasy. Indeed, she completed a triple crown of the genres’ biggest prizes, earning the Hugo, Nebula and Locus awards several times over.\u003c/p>\n\u003cp>Still, while Le Guin deployed alien planets and impossible societies in her novels, fellow Hugo winner Mary Robinette Kowal told NPR’s Petra Mayer that Le Guin’s work could not be confined to a simple label found atop bookstore shelves.\u003c/p>\n\u003cp>“Throughout her life she embraced new forms of technology, she was constantly pushing boundaries and barriers, that is inspiring to me,” Kowal said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She was one of the first really big voices in science fiction and fantasy who was a woman,” she added. “And I think she did a lot for science-fiction and fantasy — not just for women and women’s roles because of her feminism, but also legitimizing us as an art form. There are a lot of people who will read an Ursula Le Guin book and go, ‘Well, this isn’t science fiction, it’s \u003cem>literature\u003c/em>. But of course, it is science fiction. A lot of times, she can be a gateway drug for people.”\u003c/p>\n\u003cp>For evidence of this mainstream respect, a reader need look no further than the lifetime achievement honors bestowed on her at the 2014 National Book Awards — where she also delivered a fiery defense of the practice of literature as a whole.\u003c/p>\n\u003cp>“Hard times are coming,” she warned, “when we’ll be wanting the voices of writers who can see alternatives to how we live now, can see through our fear-stricken society and its obsessive technologies to other ways of being, and even imagine real grounds for hope. We’ll need writers who can remember freedom — poets, visionaries, realists of a larger reality.”\u003c/p>\n\u003cp>Many of those writers deeply mourned her passing on Tuesday.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Et9Nf-rsALk\u003c/p>\n\u003cp>“Her words are always with us. Some of them are written on my soul,” \u003ca href=\"https://twitter.com/neilhimself/status/955930053426274305\" rel=\"noopener\" target=\"_blank\">Neil Gaiman tweeted\u003c/a>. “I miss her as a glorious funny prickly person, & I miss her as the deepest and smartest of the writers, too.”\u003c/p>\n\u003cp>And those words will live beyond her death Monday, ringing loudly between the covers of novels like \u003cem>The Dispossessed\u003c/em> and \u003cem>The Lathe of Heaven\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Writing is a kind of way of speaking, and I hear it,” Le Guin \u003ca href=\"https://www.npr.org/2015/08/29/435549081/ursula-k-le-guin-steers-her-craft-into-a-new-century\" rel=\"noopener\" target=\"_blank\">told Weekend Edition in 2015\u003c/a>. “And I think a lot of readers hear it, too. Even if they hear it in silence.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ursula+K.+Le+Guin%2C+Whose+Novels+Plucked+Truth+From+High+Fantasy%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ursula K. Le Guin, a prolific novelist best known for the Earthsea series and \u003cem>The Left Hand of Darkness\u003c/em>, died Monday at the age of 88 in Portland, Ore. Across more than 20 novels and scores of short stories, Le Guin crafted fantastic worlds to grapple with profoundly difficult questions here on Earth, from class divisions to feminist theory.\u003c/p>\n\u003cp>Her agent Ginger Clark confirmed Le Guin’s death to NPR.\u003c/p>\n\u003cp>Across the decadeslong span of her career — from her first short story submission at the age of 11, to her tireless work well into her 80s — Le Guin stood as a towering figure in science fiction and fantasy. Indeed, she completed a triple crown of the genres’ biggest prizes, earning the Hugo, Nebula and Locus awards several times over.\u003c/p>\n\u003cp>Still, while Le Guin deployed alien planets and impossible societies in her novels, fellow Hugo winner Mary Robinette Kowal told NPR’s Petra Mayer that Le Guin’s work could not be confined to a simple label found atop bookstore shelves.\u003c/p>\n\u003cp>“Throughout her life she embraced new forms of technology, she was constantly pushing boundaries and barriers, that is inspiring to me,” Kowal said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She was one of the first really big voices in science fiction and fantasy who was a woman,” she added. “And I think she did a lot for science-fiction and fantasy — not just for women and women’s roles because of her feminism, but also legitimizing us as an art form. There are a lot of people who will read an Ursula Le Guin book and go, ‘Well, this isn’t science fiction, it’s \u003cem>literature\u003c/em>. But of course, it is science fiction. A lot of times, she can be a gateway drug for people.”\u003c/p>\n\u003cp>For evidence of this mainstream respect, a reader need look no further than the lifetime achievement honors bestowed on her at the 2014 National Book Awards — where she also delivered a fiery defense of the practice of literature as a whole.\u003c/p>\n\u003cp>“Hard times are coming,” she warned, “when we’ll be wanting the voices of writers who can see alternatives to how we live now, can see through our fear-stricken society and its obsessive technologies to other ways of being, and even imagine real grounds for hope. We’ll need writers who can remember freedom — poets, visionaries, realists of a larger reality.”\u003c/p>\n\u003cp>Many of those writers deeply mourned her passing on Tuesday.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Et9Nf-rsALk'\n title='//www.youtube.com/embed/Et9Nf-rsALk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Her words are always with us. Some of them are written on my soul,” \u003ca href=\"https://twitter.com/neilhimself/status/955930053426274305\" rel=\"noopener\" target=\"_blank\">Neil Gaiman tweeted\u003c/a>. “I miss her as a glorious funny prickly person, & I miss her as the deepest and smartest of the writers, too.”\u003c/p>\n\u003cp>And those words will live beyond her death Monday, ringing loudly between the covers of novels like \u003cem>The Dispossessed\u003c/em> and \u003cem>The Lathe of Heaven\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Writing is a kind of way of speaking, and I hear it,” Le Guin \u003ca href=\"https://www.npr.org/2015/08/29/435549081/ursula-k-le-guin-steers-her-craft-into-a-new-century\" rel=\"noopener\" target=\"_blank\">told Weekend Edition in 2015\u003c/a>. “And I think a lot of readers hear it, too. Even if they hear it in silence.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ursula+K.+Le+Guin%2C+Whose+Novels+Plucked+Truth+From+High+Fantasy%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "GLBT History Museum Looks Back on Magazine that Birthed 'The Queer'",
"headTitle": "GLBT History Museum Looks Back on Magazine that Birthed ‘The Queer’ | KQED",
"content": "\u003cp>It’s 1988: the year of the first National Coming Out Day, the year of the first World AIDS Day. ACT UP (AIDS Coalition to Unleash Power), a group of radical and mostly queer activists, take to the streets of New York to demand medical research and accessible treatment services for people living with HIV and AIDS. The term “transgender” becomes more common to describe gender non-conforming people. It’s a confusing and exciting time.\u003c/p>\n\u003cp>And in 1988 San Francisco, \u003ci>OUT/LOOK\u003c/i>, a magazine bearing the subtitle “National Gay and Lesbian Quarterly” launches to chronicle the moment.\u003c/p>\n\u003cfigure id=\"attachment_13819486\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819486\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview.jpeg\" alt=\"'OUT/LOOK' Issue 11, 1991.\" width=\"600\" height=\"777\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview.jpeg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview-160x207.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview-240x311.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview-375x486.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview-520x673.jpeg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">‘OUT/LOOK’ Issue 11, 1991. \u003ccite>(Courtesy of GLBT History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thirty years later, San Francisco’s GLBT History Museum celebrates the publication’s groundbreaking work with \u003ca href=\"http://www.glbthistory.org/museum/outlook/\" target=\"_blank\" rel=\"noopener\">\u003ci>OUT/LOOK & The Birth of the Queer\u003c/i>\u003c/a>, on view through Jan. 26. Included in the exhibition: a mural featuring cover art from issues of \u003ci>OUT/LOOK\u003c/i>, a library with books written by the quarterly’s contributors, and several copies of the original publication. Reflecting on the magazine’s influence today, exhibition curator E.G. Crichton asked contemporary artists and writers to respond to articles and images published in \u003ci>OUT/LOOK\u003c/i>. The result is an empowering and eclectic bridge between the past and present.\u003c/p>\n\u003cp>In \u003ca href=\"http://misterloki.com/contact/\" target=\"_blank\" rel=\"noopener\">Mister Loki\u003c/a>’s contribution to the exhibition, inspired by Will Roscoe’s article “The Zuni Man-Woman” in \u003ci>OUT/LOOK\u003c/i>’s second issue, the Los Angeles-based comic artist graphically explains the traditional role of \u003ca href=\"https://en.wikipedia.org/wiki/Lhamana\" target=\"_blank\" rel=\"noopener\">lhamana\u003c/a> in Zuni culture. The comic argues that gender non-conforming individuals have been celebrated members of various societies for generations.\u003c/p>\n\u003cfigure id=\"attachment_13819487\" class=\"wp-caption aligncenter\" style=\"max-width: 1844px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819487\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/outlook-zuniedited.jpg\" alt=\"Mister Loki, 'Gender and its Role in Zuni Society,' 2017.\" width=\"1844\" height=\"1367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited.jpg 1844w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-520x385.jpg 520w\" sizes=\"(max-width: 1844px) 100vw, 1844px\">\u003cfigcaption class=\"wp-caption-text\">Mister Loki, ‘Gender and its Role in Zuni Society,’ 2017. \u003ccite>(Photo by Dani Burlison; Courtesy of the artist and GLBT History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://juliosalgadoart.com/\" target=\"_blank\" rel=\"noopener\">Julio Salgado\u003c/a>’s piece \u003ci>Drawing My Brown In A Sea of White\u003c/i> responds to an interview with playwright and novelist Han Ong in \u003ci>OUT/LOOK\u003c/i> issue 17. “It resonated with me how as artists of color we must keep telling our own narratives because nobody is going to do it for us,” Salgado says of the Q&A with Ong. His print in \u003ci>The Birth of the Queer\u003c/i> is one in a series where Salgado explores his “immigration status, queerness and brown body.”\u003c/p>\n\u003cfigure id=\"attachment_13819488\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819488\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/outlook-salgado.jpg\" alt=\"Julio Salgado, 'Drawing My Brown In A Sea Of White,' 2017.\" width=\"1454\" height=\"1444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-768x763.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-1020x1013.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-1180x1172.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-960x953.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-240x238.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-375x372.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-520x516.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-150x150.jpg 150w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">Julio Salgado, ‘Drawing My Brown In A Sea Of White,’ 2017. \u003ccite>(Photo by Dani Burlison; courtesy of the artist and GLBT History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist \u003ca href=\"http://www.queeroutlook.org/portfolio/weyam/\" target=\"_blank\" rel=\"noopener\">Weyam\u003c/a> imagines a transformed future where the hard work of today’s queer, social justice and environmental movements pays off with \u003ci>OUT/LOOK Cover 2048\u003c/i>, an imagined issue 30 years down the line. Weyam’s 110th issue includes “How Queers Interrupted the Climate Crisis and Restored the Earth,” how Black Lives Matter transformed racial politics in the U.S., and a reflection on the end of toxic masculinity.\u003c/p>\n\u003cfigure id=\"attachment_13819489\" class=\"wp-caption alignright\" style=\"max-width: 616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819489\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview.jpeg\" alt=\"\" width=\"616\" height=\"802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview.jpeg 616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview-160x208.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview-240x312.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview-375x488.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview-520x677.jpeg 520w\" sizes=\"(max-width: 616px) 100vw, 616px\">\u003cfigcaption class=\"wp-caption-text\">Outlook #3 \u003ccite>(Courtesy of GLBT History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps the most moving piece in the exhibit is a video installation, \u003ci>The Presences of Absences\u003c/i> by \u003ca href=\"http://www.queeroutlook.org/portfolio/andrew-r-spieldenner/\" target=\"_blank\" rel=\"noopener\">Andrew Spieldenner\u003c/a> and \u003ca href=\"http://freeandfunky.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Catron Booker\u003c/a>. The four-minute video includes a sound recording tribute to the late Allan Bérubé’s “Caught in the Storm: AIDS and the Meaning of Natural Disaster,” from \u003ci>OUT/LOOK\u003c/i>’s third issue. Bérubé’s essay, written just a year after his partner’s AIDS-related death, explores the fear, anger and guilt of living as a gay man during the AIDS epidemic of the 1980s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wish there was some way for you to meet the men I’ve known both platonically and intimately because they were amazing, even the ones I forgot (or whose names I never asked),” Spieldenner says in the video, expressing the fear of being forgotten. “Will you only know me and the surrounding constellation through my writing or the stories people know about me?…Would you even know that I lived?”\u003c/p>\n\u003cp>\u003ci>OUT/LOOK\u003c/i> was remarkable not just for publishing stories of gay and lesbian communities, but perspectives from bisexuals and queer people of color. The magazine printed news and commentary on sexuality, gender roles, race, politics, culture and more for five years; their 17th and final issue came out in the summer of 1992. Awareness of the issues affecting queer communities has transformed in the 30 years since \u003ci>OUT/LOOK\u003c/i>’s coming out — changes certainly connected to the magazine and publications like it.\u003c/p>\n\u003cp>\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/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘OUT/LOOK & The Birth of the Queer’ is on view at the GLBT History Museum through Jan. 26, 2018 with a closing reception Friday, Jan. 26, 7-9pm. For more information \u003ca href=\"http://www.glbthistory.org/museum/outlook/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.’\u003c/i>\u003c/p>\n\n",
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"excerpt": "Don't miss the final days of an exhibition devoted to the seminal queer publication 'OUT/LOOK,' and contemporary reflections on its inspiring contents.",
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"description": "Don't miss the final days of an exhibition devoted to the seminal queer publication 'OUT/LOOK,' and contemporary reflections on its inspiring contents.",
"title": "GLBT History Museum Looks Back on Magazine that Birthed 'The Queer' | KQED",
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"headline": "GLBT History Museum Looks Back on Magazine that Birthed 'The Queer'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s 1988: the year of the first National Coming Out Day, the year of the first World AIDS Day. ACT UP (AIDS Coalition to Unleash Power), a group of radical and mostly queer activists, take to the streets of New York to demand medical research and accessible treatment services for people living with HIV and AIDS. The term “transgender” becomes more common to describe gender non-conforming people. It’s a confusing and exciting time.\u003c/p>\n\u003cp>And in 1988 San Francisco, \u003ci>OUT/LOOK\u003c/i>, a magazine bearing the subtitle “National Gay and Lesbian Quarterly” launches to chronicle the moment.\u003c/p>\n\u003cfigure id=\"attachment_13819486\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819486\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview.jpeg\" alt=\"'OUT/LOOK' Issue 11, 1991.\" width=\"600\" height=\"777\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview.jpeg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview-160x207.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview-240x311.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview-375x486.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No11_preview-520x673.jpeg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">‘OUT/LOOK’ Issue 11, 1991. \u003ccite>(Courtesy of GLBT History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thirty years later, San Francisco’s GLBT History Museum celebrates the publication’s groundbreaking work with \u003ca href=\"http://www.glbthistory.org/museum/outlook/\" target=\"_blank\" rel=\"noopener\">\u003ci>OUT/LOOK & The Birth of the Queer\u003c/i>\u003c/a>, on view through Jan. 26. Included in the exhibition: a mural featuring cover art from issues of \u003ci>OUT/LOOK\u003c/i>, a library with books written by the quarterly’s contributors, and several copies of the original publication. Reflecting on the magazine’s influence today, exhibition curator E.G. Crichton asked contemporary artists and writers to respond to articles and images published in \u003ci>OUT/LOOK\u003c/i>. The result is an empowering and eclectic bridge between the past and present.\u003c/p>\n\u003cp>In \u003ca href=\"http://misterloki.com/contact/\" target=\"_blank\" rel=\"noopener\">Mister Loki\u003c/a>’s contribution to the exhibition, inspired by Will Roscoe’s article “The Zuni Man-Woman” in \u003ci>OUT/LOOK\u003c/i>’s second issue, the Los Angeles-based comic artist graphically explains the traditional role of \u003ca href=\"https://en.wikipedia.org/wiki/Lhamana\" target=\"_blank\" rel=\"noopener\">lhamana\u003c/a> in Zuni culture. The comic argues that gender non-conforming individuals have been celebrated members of various societies for generations.\u003c/p>\n\u003cfigure id=\"attachment_13819487\" class=\"wp-caption aligncenter\" style=\"max-width: 1844px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819487\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/outlook-zuniedited.jpg\" alt=\"Mister Loki, 'Gender and its Role in Zuni Society,' 2017.\" width=\"1844\" height=\"1367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited.jpg 1844w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-zuniedited-520x385.jpg 520w\" sizes=\"(max-width: 1844px) 100vw, 1844px\">\u003cfigcaption class=\"wp-caption-text\">Mister Loki, ‘Gender and its Role in Zuni Society,’ 2017. \u003ccite>(Photo by Dani Burlison; Courtesy of the artist and GLBT History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://juliosalgadoart.com/\" target=\"_blank\" rel=\"noopener\">Julio Salgado\u003c/a>’s piece \u003ci>Drawing My Brown In A Sea of White\u003c/i> responds to an interview with playwright and novelist Han Ong in \u003ci>OUT/LOOK\u003c/i> issue 17. “It resonated with me how as artists of color we must keep telling our own narratives because nobody is going to do it for us,” Salgado says of the Q&A with Ong. His print in \u003ci>The Birth of the Queer\u003c/i> is one in a series where Salgado explores his “immigration status, queerness and brown body.”\u003c/p>\n\u003cfigure id=\"attachment_13819488\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819488\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/outlook-salgado.jpg\" alt=\"Julio Salgado, 'Drawing My Brown In A Sea Of White,' 2017.\" width=\"1454\" height=\"1444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-768x763.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-1020x1013.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-1180x1172.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-960x953.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-240x238.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-375x372.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-520x516.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/outlook-salgado-150x150.jpg 150w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">Julio Salgado, ‘Drawing My Brown In A Sea Of White,’ 2017. \u003ccite>(Photo by Dani Burlison; courtesy of the artist and GLBT History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist \u003ca href=\"http://www.queeroutlook.org/portfolio/weyam/\" target=\"_blank\" rel=\"noopener\">Weyam\u003c/a> imagines a transformed future where the hard work of today’s queer, social justice and environmental movements pays off with \u003ci>OUT/LOOK Cover 2048\u003c/i>, an imagined issue 30 years down the line. Weyam’s 110th issue includes “How Queers Interrupted the Climate Crisis and Restored the Earth,” how Black Lives Matter transformed racial politics in the U.S., and a reflection on the end of toxic masculinity.\u003c/p>\n\u003cfigure id=\"attachment_13819489\" class=\"wp-caption alignright\" style=\"max-width: 616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819489\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview.jpeg\" alt=\"\" width=\"616\" height=\"802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview.jpeg 616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview-160x208.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview-240x312.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview-375x488.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Outlook_Cover_No3_preview-520x677.jpeg 520w\" sizes=\"(max-width: 616px) 100vw, 616px\">\u003cfigcaption class=\"wp-caption-text\">Outlook #3 \u003ccite>(Courtesy of GLBT History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps the most moving piece in the exhibit is a video installation, \u003ci>The Presences of Absences\u003c/i> by \u003ca href=\"http://www.queeroutlook.org/portfolio/andrew-r-spieldenner/\" target=\"_blank\" rel=\"noopener\">Andrew Spieldenner\u003c/a> and \u003ca href=\"http://freeandfunky.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Catron Booker\u003c/a>. The four-minute video includes a sound recording tribute to the late Allan Bérubé’s “Caught in the Storm: AIDS and the Meaning of Natural Disaster,” from \u003ci>OUT/LOOK\u003c/i>’s third issue. Bérubé’s essay, written just a year after his partner’s AIDS-related death, explores the fear, anger and guilt of living as a gay man during the AIDS epidemic of the 1980s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wish there was some way for you to meet the men I’ve known both platonically and intimately because they were amazing, even the ones I forgot (or whose names I never asked),” Spieldenner says in the video, expressing the fear of being forgotten. “Will you only know me and the surrounding constellation through my writing or the stories people know about me?…Would you even know that I lived?”\u003c/p>\n\u003cp>\u003ci>OUT/LOOK\u003c/i> was remarkable not just for publishing stories of gay and lesbian communities, but perspectives from bisexuals and queer people of color. The magazine printed news and commentary on sexuality, gender roles, race, politics, culture and more for five years; their 17th and final issue came out in the summer of 1992. Awareness of the issues affecting queer communities has transformed in the 30 years since \u003ci>OUT/LOOK\u003c/i>’s coming out — changes certainly connected to the magazine and publications like it.\u003c/p>\n\u003cp>\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/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘OUT/LOOK & The Birth of the Queer’ is on view at the GLBT History Museum through Jan. 26, 2018 with a closing reception Friday, Jan. 26, 7-9pm. For more information \u003ca href=\"http://www.glbthistory.org/museum/outlook/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.’\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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