Trans Activists Vow to ‘Liberate Compton’s’ After SF Board of Appeals Loss
How the Compton’s Cafeteria Riot Supercharged San Francisco’s Fight for Trans Rights
An Immersive Play at Compton’s Cafeteria, Where Trans Women Rioted in 1966
Seeing Six Decades of LGBTQ+ History Through Donna Personna’s Eyes
‘All The Nights We Got To Dance’ Is a Tribute to Queer Nightlife in SF
Transgender Dancer Sean Dorsey Dreams of a Limitless Future for Trans and Queer Communities
How the Trans Community Reclaimed Its Rightful Place at Pride
Now Playing! SF Cinematheque Salutes the Tenderloin’s Transgender History
A New Generation Gathers Strength from the Courageous Queens of the Compton’s Cafeteria Riot
A KQED Arts Series, 'The Changing Face of Drag'
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"content": "\u003cp>A group of San Francisco activists wants to oust a private prison corporation from a historic site in the Tenderloin and turn it into a community resource center. But on July 16, their strategy to use zoning law to do so hit a roadblock.\u003c/p>\n\u003cp>At a packed five-hour Board of Appeals meeting where over 60 people gave impassioned testimonies supporting the activists, the board ruled in favor of \u003ca href=\"https://www.kqed.org/news/tag/geo-group\">Geo Group\u003c/a> in a zoning dispute over 111 Taylor, a building where \u003ca href=\"https://www.kqed.org/arts/tag/comptons-cafeteria-riot\">a riot for trans rights\u003c/a> took place in 1966.\u003c/p>\n\u003cp>“We have not lost this fight,” said historian Susan Stryker to her fellow activists after they exited the hearing. “We’re going to continue pursuing justice. … We’re gonna do it together and we’re gonna live to be the change that we need to see in this world.”\u003c/p>\n\u003cfigure id=\"attachment_13978879\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978879\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-6_qed-1.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-6_qed-1.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-6_qed-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-6_qed-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-6_qed-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Chandra Laborde speaks before the San Francisco Board of Appeals on July 16, 2025 urging the removal of GEO Group from the historic Compton’s Cafeteria building and its return to community use. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To understand the significance of the hearing, it’s crucial to understand the building’s history. In the ’60s, 111 Taylor was a late-night diner called Gene Compton’s Cafeteria, a popular hangout for trans women and queer people. Police routinely raided the establishment, and one summer night the patrons fought back. After the riot, San Francisco became the first city to create social services for its trans community — three years before a similar riot at Stonewall Inn in New York City launched the modern-day LGBTQ+ rights movement.\u003c/p>\n\u003cp>Today, the diner’s former location at the intersection of Turk and Taylor Streets is the epicenter of San Francisco’s Transgender District, the first of its kind in the country. Every year during Pride, the Trans March concludes at Turk and Taylor, where activists call back to that summer night at Compton’s Cafeteria for inspiration in today’s battle for trans rights.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet activists say 111 Taylor’s current operations are an affront to this history. Geo Group is a multi-billion-dollar private prison corporation that has been accused of holding inmates in \u003ca href=\"https://www.theguardian.com/us-news/2025/feb/05/california-detention-center-abuse\">inhumane conditions\u003c/a> and \u003ca href=\"https://www.reuters.com/legal/government/geo-group-cant-nix-23-mln-verdict-over-immigrant-detainee-pay-2025-01-16/\">underpaying them for prison labor\u003c/a>. At 111 Taylor, a subsidiary of the company, Geo Reentry Services, runs a transitional facility for people on parole. (Geo Group also operates ICE detention centers and has recently made headlines for \u003ca href=\"https://theappeal.org/geo-group-earnings-may-mass-deportation/\">profiting from the Trump administration’s mass deportations\u003c/a>.)\u003c/p>\n\u003cp>“I think that the building should be something different that is aligned with the legacy of resistance,” said Chandra Laborde, the appellant in the zoning dispute and a member of \u003ca href=\"https://www.comptonsxcoalition.net/\">Compton’s x Coalition\u003c/a>, the activist group behind the “Liberate Compton’s” movement. [aside postid='arts_13975971']\u003c/p>\n\u003cp>At the Board of Appeals hearing, Laborde went head-to-head with Geo Group’s attorney, David Blackwell. In her presentation, she argued that the board should revoke Geo Group’s zoning letter of determination, a document Geo Group needs to maintain its contract with the California Department of Corrections and Rehabilitation (CDCR). 111 Taylor is currently zoned for group housing, and Laborde argued that Geo Group is violating its current zoning by providing services that are more in line with a residential care facility.\u003c/p>\n\u003cp>Meanwhile, after 111 Taylor’s Facility Director Maria Richard made a case for the institution’s service to the community, Blackwell’s legal argument zeroed in on the Board of Appeals’ jurisdiction. He contended that its sole responsibility is to determine whether Zoning Administrator Corey Teague committed an error or abused his discretion when issuing the letter.\u003c/p>\n\u003cp>“We have to make this distinction that it all can’t be conflated into one big ‘we hate Geo’ fest,” said Blackwell. “That’s not what this is about.”\u003c/p>\n\u003cfigure id=\"attachment_13978880\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978880\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-10_qed-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-10_qed-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-10_qed-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-10_qed-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-10_qed-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">David Blackwell, land‑use attorney for GEO Group, listens as activists appeal the for‑profit operator’s reentry center at 111 Taylor St. before the Board of Appeals on July 16. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When public comment opened, Laborde and the Compton’s x Coalition got support from prominent figures like District 5 Supervisor Bilal Mahmood, who represents the Tenderloin; Janetta Johnson, a Transgender District co-founder and director of the Transgender Gender-Variant Intersex Justice Project, which helps incarcerated trans people; and Honey Mahogany, director of the city’s Office of Transgender Initiatives. [aside postid='arts_13977080']\u003c/p>\n\u003cp>In their comments, community members pointed to AB 32, a California law that will ban most private prisons by 2028. Several former residents of 111 Taylor who spoke against Geo Group described it as a prison-like environment.\u003c/p>\n\u003cp>“I’m formerly incarcerated, and I’m here to give a voice of the reentry community to say that my successful reentry has been \u003cem>in spite\u003c/em> of Geo Group,” said a San Francisco resident named Joseph Norris. “There is a lie and a myth that Geo Group helps people.”\u003c/p>\n\u003cp>“I think that everyone here who’s speaking at public comment supports those who are formerly incarcerated, wants to see those people transition into everyday life, wants those people to have a safe place to live and to be able to have resources,” said Mahogany. “But what we are saying is that Geo Group has been continually found to be in violation of their stewardship, their requirements.”\u003c/p>\n\u003cfigure id=\"attachment_13978876\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978876\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-11_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-11_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-11_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-11_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-11_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany addresses the Board of Appeals during public comment on July 16, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Out of the dozens of commenters, only a handful of people spoke in support of Geo Group, including a retired parole officer and several former residents. “I was given two life sentences when I was 15 years old. I got over two decades inside,” said one speaker who identified himself as William. “Going to 111 Taylor was a blessing. If I had been paroled to my family, I would have been a burden on them.”\u003c/p>\n\u003cp>Despite speakers’ passionate arguments about trans history and the best way to support formerly incarcerated people, the board’s final ruling in Geo Group’s favor came down to a legal technicality. Several of the five Board of Appeals commissioners said they agreed with the activists’ ideas, but explained that their job at hand was to determine whether the Zoning Administrator committed an error or abuse in determining the legal use of the building.\u003c/p>\n\u003cp>“If we had a proposition on the city buying the property and handing it over to the trans community as a community center, I would vote the same way that a lot of folks in this room would,” said Commissioner Jose Lopez. “But that’s not what’s on the table for us.”\u003c/p>\n\u003cp>Ultimately, the vote to uphold Geo Group’s letter of determination was 4-1, with Board Vice President J.R. Eppler siding with the activists.\u003c/p>\n\u003cp>Yet there may be other legal avenues at the Compton’s x Coalition’s disposal. Separately from the hearing, the Planning Department has an ongoing investigation at 111 Taylor to determine whether Geo Group has violated its zoning.\u003c/p>\n\u003cp>David Blackwell and members of Geo staff at the Board of Appeals hearing, including Facility Director Maria Richard, declined interviews with KQED.\u003c/p>\n\u003cfigure id=\"attachment_13978878\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">111 Taylor St., the former Compton’s Cafeteria site, is now operated as a GEO Group halfway house in San Francisco’s Tenderloin neighborhood. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compton’s x Coalition’s ultimate goal is to pressure Geo Group to sell the building to a community land trust so that local residents can reimagine it as a resource center for the neighborhood. The next envisioning session for the building’s future is on Aug. 23; ideas for the space so far have included housing, an arts space, and a site offering services for trans people and immigrants in the Tenderloin, many of whom live below the poverty line. [aside postid='arts_13977767']\u003c/p>\n\u003cp>It remains to be seen whether Geo Group would ever be willing to sell the building, but State Senator Scott Wiener told KQED in an interview that there is a precedent, and that he supports the activists. “In terms of purchase of private property to restore it to a cultural use, that’s not uncommon,” he said. “There have been plenty of examples of a home of a historic figure being purchased and turned into a museum, or in a different context, purchasing private land to preserve it as natural space.”\u003c/p>\n\u003cp>Reached by phone after the hearing, Supervisor Mahmood said he’s disappointed with the outcome and plans to meet with activists, the City Attorney’s office, the Planning Department and other officials.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’ve talked to previous supervisors who held this position representing the Tenderloin, and this has been coming up again and again and again, and the community just has not been able to get adequate justice on this site,” he said, adding, “We look forward to … figuring out a next step in partnership with the community.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A group of San Francisco activists wants to oust a private prison corporation from a historic site in the Tenderloin and turn it into a community resource center. But on July 16, their strategy to use zoning law to do so hit a roadblock.\u003c/p>\n\u003cp>At a packed five-hour Board of Appeals meeting where over 60 people gave impassioned testimonies supporting the activists, the board ruled in favor of \u003ca href=\"https://www.kqed.org/news/tag/geo-group\">Geo Group\u003c/a> in a zoning dispute over 111 Taylor, a building where \u003ca href=\"https://www.kqed.org/arts/tag/comptons-cafeteria-riot\">a riot for trans rights\u003c/a> took place in 1966.\u003c/p>\n\u003cp>“We have not lost this fight,” said historian Susan Stryker to her fellow activists after they exited the hearing. “We’re going to continue pursuing justice. … We’re gonna do it together and we’re gonna live to be the change that we need to see in this world.”\u003c/p>\n\u003cfigure id=\"attachment_13978879\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978879\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-6_qed-1.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-6_qed-1.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-6_qed-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-6_qed-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-6_qed-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Chandra Laborde speaks before the San Francisco Board of Appeals on July 16, 2025 urging the removal of GEO Group from the historic Compton’s Cafeteria building and its return to community use. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To understand the significance of the hearing, it’s crucial to understand the building’s history. In the ’60s, 111 Taylor was a late-night diner called Gene Compton’s Cafeteria, a popular hangout for trans women and queer people. Police routinely raided the establishment, and one summer night the patrons fought back. After the riot, San Francisco became the first city to create social services for its trans community — three years before a similar riot at Stonewall Inn in New York City launched the modern-day LGBTQ+ rights movement.\u003c/p>\n\u003cp>Today, the diner’s former location at the intersection of Turk and Taylor Streets is the epicenter of San Francisco’s Transgender District, the first of its kind in the country. Every year during Pride, the Trans March concludes at Turk and Taylor, where activists call back to that summer night at Compton’s Cafeteria for inspiration in today’s battle for trans rights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet activists say 111 Taylor’s current operations are an affront to this history. Geo Group is a multi-billion-dollar private prison corporation that has been accused of holding inmates in \u003ca href=\"https://www.theguardian.com/us-news/2025/feb/05/california-detention-center-abuse\">inhumane conditions\u003c/a> and \u003ca href=\"https://www.reuters.com/legal/government/geo-group-cant-nix-23-mln-verdict-over-immigrant-detainee-pay-2025-01-16/\">underpaying them for prison labor\u003c/a>. At 111 Taylor, a subsidiary of the company, Geo Reentry Services, runs a transitional facility for people on parole. (Geo Group also operates ICE detention centers and has recently made headlines for \u003ca href=\"https://theappeal.org/geo-group-earnings-may-mass-deportation/\">profiting from the Trump administration’s mass deportations\u003c/a>.)\u003c/p>\n\u003cp>“I think that the building should be something different that is aligned with the legacy of resistance,” said Chandra Laborde, the appellant in the zoning dispute and a member of \u003ca href=\"https://www.comptonsxcoalition.net/\">Compton’s x Coalition\u003c/a>, the activist group behind the “Liberate Compton’s” movement. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the Board of Appeals hearing, Laborde went head-to-head with Geo Group’s attorney, David Blackwell. In her presentation, she argued that the board should revoke Geo Group’s zoning letter of determination, a document Geo Group needs to maintain its contract with the California Department of Corrections and Rehabilitation (CDCR). 111 Taylor is currently zoned for group housing, and Laborde argued that Geo Group is violating its current zoning by providing services that are more in line with a residential care facility.\u003c/p>\n\u003cp>Meanwhile, after 111 Taylor’s Facility Director Maria Richard made a case for the institution’s service to the community, Blackwell’s legal argument zeroed in on the Board of Appeals’ jurisdiction. He contended that its sole responsibility is to determine whether Zoning Administrator Corey Teague committed an error or abused his discretion when issuing the letter.\u003c/p>\n\u003cp>“We have to make this distinction that it all can’t be conflated into one big ‘we hate Geo’ fest,” said Blackwell. “That’s not what this is about.”\u003c/p>\n\u003cfigure id=\"attachment_13978880\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978880\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-10_qed-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-10_qed-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-10_qed-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-10_qed-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-10_qed-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">David Blackwell, land‑use attorney for GEO Group, listens as activists appeal the for‑profit operator’s reentry center at 111 Taylor St. before the Board of Appeals on July 16. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When public comment opened, Laborde and the Compton’s x Coalition got support from prominent figures like District 5 Supervisor Bilal Mahmood, who represents the Tenderloin; Janetta Johnson, a Transgender District co-founder and director of the Transgender Gender-Variant Intersex Justice Project, which helps incarcerated trans people; and Honey Mahogany, director of the city’s Office of Transgender Initiatives. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In their comments, community members pointed to AB 32, a California law that will ban most private prisons by 2028. Several former residents of 111 Taylor who spoke against Geo Group described it as a prison-like environment.\u003c/p>\n\u003cp>“I’m formerly incarcerated, and I’m here to give a voice of the reentry community to say that my successful reentry has been \u003cem>in spite\u003c/em> of Geo Group,” said a San Francisco resident named Joseph Norris. “There is a lie and a myth that Geo Group helps people.”\u003c/p>\n\u003cp>“I think that everyone here who’s speaking at public comment supports those who are formerly incarcerated, wants to see those people transition into everyday life, wants those people to have a safe place to live and to be able to have resources,” said Mahogany. “But what we are saying is that Geo Group has been continually found to be in violation of their stewardship, their requirements.”\u003c/p>\n\u003cfigure id=\"attachment_13978876\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978876\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-11_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-11_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-11_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-11_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH-11_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany addresses the Board of Appeals during public comment on July 16, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Out of the dozens of commenters, only a handful of people spoke in support of Geo Group, including a retired parole officer and several former residents. “I was given two life sentences when I was 15 years old. I got over two decades inside,” said one speaker who identified himself as William. “Going to 111 Taylor was a blessing. If I had been paroled to my family, I would have been a burden on them.”\u003c/p>\n\u003cp>Despite speakers’ passionate arguments about trans history and the best way to support formerly incarcerated people, the board’s final ruling in Geo Group’s favor came down to a legal technicality. Several of the five Board of Appeals commissioners said they agreed with the activists’ ideas, but explained that their job at hand was to determine whether the Zoning Administrator committed an error or abuse in determining the legal use of the building.\u003c/p>\n\u003cp>“If we had a proposition on the city buying the property and handing it over to the trans community as a community center, I would vote the same way that a lot of folks in this room would,” said Commissioner Jose Lopez. “But that’s not what’s on the table for us.”\u003c/p>\n\u003cp>Ultimately, the vote to uphold Geo Group’s letter of determination was 4-1, with Board Vice President J.R. Eppler siding with the activists.\u003c/p>\n\u003cp>Yet there may be other legal avenues at the Compton’s x Coalition’s disposal. Separately from the hearing, the Planning Department has an ongoing investigation at 111 Taylor to determine whether Geo Group has violated its zoning.\u003c/p>\n\u003cp>David Blackwell and members of Geo staff at the Board of Appeals hearing, including Facility Director Maria Richard, declined interviews with KQED.\u003c/p>\n\u003cfigure id=\"attachment_13978878\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250716_ComptonsCafeteriaBuilding_GH_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">111 Taylor St., the former Compton’s Cafeteria site, is now operated as a GEO Group halfway house in San Francisco’s Tenderloin neighborhood. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compton’s x Coalition’s ultimate goal is to pressure Geo Group to sell the building to a community land trust so that local residents can reimagine it as a resource center for the neighborhood. The next envisioning session for the building’s future is on Aug. 23; ideas for the space so far have included housing, an arts space, and a site offering services for trans people and immigrants in the Tenderloin, many of whom live below the poverty line. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It remains to be seen whether Geo Group would ever be willing to sell the building, but State Senator Scott Wiener told KQED in an interview that there is a precedent, and that he supports the activists. “In terms of purchase of private property to restore it to a cultural use, that’s not uncommon,” he said. “There have been plenty of examples of a home of a historic figure being purchased and turned into a museum, or in a different context, purchasing private land to preserve it as natural space.”\u003c/p>\n\u003cp>Reached by phone after the hearing, Supervisor Mahmood said he’s disappointed with the outcome and plans to meet with activists, the City Attorney’s office, the Planning Department and other officials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve talked to previous supervisors who held this position representing the Tenderloin, and this has been coming up again and again and again, and the community just has not been able to get adequate justice on this site,” he said, adding, “We look forward to … figuring out a next step in partnership with the community.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "comptons-cafeteria-riot-trans-rights-lgbtq-queer-history-san-francisco-comic-justin-hall",
"title": "How the Compton’s Cafeteria Riot Supercharged San Francisco’s Fight for Trans Rights",
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"headTitle": "How the Compton’s Cafeteria Riot Supercharged San Francisco’s Fight for Trans Rights | KQED",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong>\u003c/em>\u003cem> This story is part of ‘\u003ca href=\"https://www.kqed.org/transhistory\">Trans Bay: A History of San Francisco’s Gender-Diverse Community\u003c/a>.’ From June 9–19, we’re publishing stories about transgender artists and activists who shaped culture from the 1890s to today.\u003c/em>\u003c/p>\n\u003cp>\u003cem>In this comic, \u003ca href=\"https://www.justinhallawesomecomics.com/comptons-cafeteria-riots\">artist Justin Hall\u003c/a> tells the story of the Compton’s Cafeteria riot of 1966, when trans women, drag queens and street hustlers fought back against abusive police at a Tenderloin diner. The riot galvanized the movement for trans rights, three years before Stonewall, and forced San Francisco to adopt important reforms. \u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977221\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel1final.png\" alt=\"The entrance of Gene Compton's Cafeteria. The text above it says "Compton's Cafeteria Riot by Justin Hall." Below it says "A group of trans women, drag queens and street hustlers rioted at the Gene Compton's Cateria" in the Tenderloin District of San Francisco one night in August 1966. It is one of the first recorded moments of collective LGBTQ rebellion against police harassment in the U.S., three years before the more famous Stonewall riots.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel1final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel1final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel1final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel1final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977228\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel2final.png\" alt=\"Trans women in party dresses stand outside a bar. The text reads, "It was incredibly difficult for trnas women and gender-nonconforming people, especially those of color, to find employment, so many took to sex work in the Tenderloin. Though many of the gay bars there wouldn't allow the queens entry, there was still a vibrant community working the streets and offering each other support. \" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel2final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel2final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel2final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel2final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977225\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel3final.png\" alt=\"Police officers approach a trans woman. Activist Tamara Ching says, "The police would ask you for ID. You had to have your male ID if you were born male and didn't go through a sex change. They would pat you down, and while they're patting you down of course they're feeling you up."\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel3final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel3final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel3final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel3final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel4final.png\" alt=\"Trans women smoke cigarettes and drink coffee at a diner. The text reads, "Compton's Cafeteria was open 24 hours and was a relatively safe space for queens to gather, get a cup of coffee and check in with each other."\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel4final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel4final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel4final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel4final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel5final.png\" alt='A close-up of a cup of coffee spilling. \"No one knows the exact date of the riots or precisely who was there, but apparently there was a cup of coffee involved.\"' width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel5final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel5final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel5final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel5final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977223\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel6final.png\" alt='\"Hey girls,\" says one woman. \"Come over here! We saved you a seat,\" replies her friend. \"Love that new lipstick, sweetie!\"' width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel6final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel6final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel6final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel6final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel7final.png\" alt=\"The woman takes a seat and gossips with her friends at a table. "Thank you," she says. "I figured I needed a new color for a new attitude. So, did you hear about Dixie Russo's stand-off with the police the other day?" Her friend replies, "Who?"\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel7final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel7final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel7final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel7final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977227\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel8final.png\" alt=\"The friends continue to gossip. "You know her. She's the head of Vanguard's street queens division. That's the gay liberation group that meets at Glide Memorial Church."\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel8final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel8final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel8final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel8final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977210\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel9final.png\" alt=\"The conversation continues. "Well, apparently when they denied her service at the Doggie Diner, she broke a sugar shaker," says one woman. "Uh-oh!" replies her friend. "17 cops in riot gear showed up," the first woman continues. "They surrounded her and her Vanguard buddies for five full hours. But eventually they walked away and didn't arrest anybody!"\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel9final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel9final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel9final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel9final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977217\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel10final.png\" alt=\"An outside view of Compton's while the conversation continues inside. "She got lucky," someone says. "You gonna end up dead thinking like that! I've been around here longer than you, girl. We gotta keep our heads down if we wanna survive," someone replies. "I dunno," says the first woman. "Feels to me like change is in the air."\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel10final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel10final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel10final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel10final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel11final.png\" alt=\"Inside the cafeteria, two police officers stand over two patrons sitting in a booth. "What have we here? Some men in dresses having a tea party," one officer says. The other officer replies, "Tea party? Nah... These aren't respectable folks, just hookers high on drugs!" Then, one of the patrons addresses the cops: "We're more respectable than you'll ever be!"\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel11final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel11final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel11final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel11final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977216\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel12final.png\" alt=\"A police officer bangs the table with his fist, shouting, "What did you say to me?" The friend of the woman who spoke up earlier intervenes, saying, "Please, officer... don't mind her. We're just having a cup of coffee here. Just minding our own business..."\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel12final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel12final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel12final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel12final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel13final.png\" alt=\""I didn't ask you! I was talking to this uppity one, here," the officer replies, grabbing the arm of the woman. "Ow!! Help!" she yells out for help.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel13final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel13final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel13final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel13final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977219\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel14final.png\" alt='\"Take your hands off of her!\" the friend responds, with her brows furled. \"You talking back to me, trash?\" replies the officers, outside of the frame.' width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel14final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel14final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel14final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel14final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977218\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel15final.png\" alt=\""We're no one's trash!" shouts one of the women, throwing a cup of coffee in the officer's face.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel15final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel15final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel15final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel15final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977214\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel16final.png\" alt='With that thrown cup of coffee, the cafeteria erupted. Tables were overturned, sugar shakers thrown through windows, plates shattered, and eventually the fighting spilled out into the streets. \"We just got tired of being harassed. We wanted our rights,\" Amanda St. Jaymes reflects in an interview.' width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel16final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel16final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel16final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel16final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel17final.png\" alt=\"The police beat the queens with batons, and they fought back with their heels and heavy purses.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel17final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel17final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel17final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel17final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977229\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel18final-scaled.jpg\" alt=\"Protesters are pictured shouting "Wear your gown all year round!" and carrying signs that read "Drag it out in the open." Even though many were beaten and arrested, a sense of empowerment and even joy was in the air. Queers had fought back! Though the community still suffers tremendous violence, especially against trans women of color, the Compton's Cafeteria Riots marked the beginning of the modern trans rights movement and a significant step towards justice. A number of transgender resources and self-help groups emerged after the riots, and trans folks in SF had more access to anti-poverty funds, employment, and services.\" width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel18final-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel18final-2000x2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel18final-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel18final-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel18final-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel18final-2048x2048.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977212\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel19final.png\" alt=\"Six blocks of the Tenderloin, between Mason, Ellis and Jones streets, were designated the world's first Transgender Cultural District in 2017. Now, there's a plaque in front of where Compton's Cafeteria used to be that honors the rioters of 1966. So, let's raise our own cups of coffee to that courageous queen, whoever she was, who threw that cup that changed SF history, and the struggle for LGBTQ rights, forever!\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel19final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel19final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel19final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel19final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel20final.png\" alt=\"This comic was reformatted from a poster created by cartoonist Justin Hall for 'The Path to Pride,' a poster series commissioned by the San Francisco Arts Commission to commemorate the 50th anniversary of SF Pride. Special thanks to Susan Stryker, Tamara Ching, and Isaac Fellman. Additional design work was done by Sonia Harris.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel20final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel20final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel20final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel20final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\n",
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"excerpt": "San Francisco’s trans community faced off against abusive police, three years before Stonewall. ",
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"title": "An Illustrated History of the Compton’s Cafeteria Riot | KQED",
"description": "San Francisco’s trans community faced off against abusive police, three years before Stonewall. ",
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"socialTitle": "An Illustrated History of the Compton’s Cafeteria Riot %%page%% %%sep%% KQED",
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"headline": "How the Compton’s Cafeteria Riot Supercharged San Francisco’s Fight for Trans Rights",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong>\u003c/em>\u003cem> This story is part of ‘\u003ca href=\"https://www.kqed.org/transhistory\">Trans Bay: A History of San Francisco’s Gender-Diverse Community\u003c/a>.’ From June 9–19, we’re publishing stories about transgender artists and activists who shaped culture from the 1890s to today.\u003c/em>\u003c/p>\n\u003cp>\u003cem>In this comic, \u003ca href=\"https://www.justinhallawesomecomics.com/comptons-cafeteria-riots\">artist Justin Hall\u003c/a> tells the story of the Compton’s Cafeteria riot of 1966, when trans women, drag queens and street hustlers fought back against abusive police at a Tenderloin diner. The riot galvanized the movement for trans rights, three years before Stonewall, and forced San Francisco to adopt important reforms. \u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977221\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel1final.png\" alt=\"The entrance of Gene Compton's Cafeteria. The text above it says "Compton's Cafeteria Riot by Justin Hall." Below it says "A group of trans women, drag queens and street hustlers rioted at the Gene Compton's Cateria" in the Tenderloin District of San Francisco one night in August 1966. It is one of the first recorded moments of collective LGBTQ rebellion against police harassment in the U.S., three years before the more famous Stonewall riots.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel1final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel1final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel1final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel1final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977228\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel2final.png\" alt=\"Trans women in party dresses stand outside a bar. The text reads, "It was incredibly difficult for trnas women and gender-nonconforming people, especially those of color, to find employment, so many took to sex work in the Tenderloin. Though many of the gay bars there wouldn't allow the queens entry, there was still a vibrant community working the streets and offering each other support. \" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel2final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel2final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel2final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel2final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977225\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel3final.png\" alt=\"Police officers approach a trans woman. Activist Tamara Ching says, "The police would ask you for ID. You had to have your male ID if you were born male and didn't go through a sex change. They would pat you down, and while they're patting you down of course they're feeling you up."\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel3final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel3final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel3final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel3final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel4final.png\" alt=\"Trans women smoke cigarettes and drink coffee at a diner. The text reads, "Compton's Cafeteria was open 24 hours and was a relatively safe space for queens to gather, get a cup of coffee and check in with each other."\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel4final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel4final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel4final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel4final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel5final.png\" alt='A close-up of a cup of coffee spilling. \"No one knows the exact date of the riots or precisely who was there, but apparently there was a cup of coffee involved.\"' width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel5final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel5final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel5final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel5final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977223\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel6final.png\" alt='\"Hey girls,\" says one woman. \"Come over here! We saved you a seat,\" replies her friend. \"Love that new lipstick, sweetie!\"' width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel6final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel6final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel6final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel6final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel7final.png\" alt=\"The woman takes a seat and gossips with her friends at a table. "Thank you," she says. "I figured I needed a new color for a new attitude. So, did you hear about Dixie Russo's stand-off with the police the other day?" Her friend replies, "Who?"\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel7final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel7final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel7final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel7final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977227\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel8final.png\" alt=\"The friends continue to gossip. "You know her. She's the head of Vanguard's street queens division. That's the gay liberation group that meets at Glide Memorial Church."\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel8final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel8final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel8final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel8final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977210\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel9final.png\" alt=\"The conversation continues. "Well, apparently when they denied her service at the Doggie Diner, she broke a sugar shaker," says one woman. "Uh-oh!" replies her friend. "17 cops in riot gear showed up," the first woman continues. "They surrounded her and her Vanguard buddies for five full hours. But eventually they walked away and didn't arrest anybody!"\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel9final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel9final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel9final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel9final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977217\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel10final.png\" alt=\"An outside view of Compton's while the conversation continues inside. "She got lucky," someone says. "You gonna end up dead thinking like that! I've been around here longer than you, girl. We gotta keep our heads down if we wanna survive," someone replies. "I dunno," says the first woman. "Feels to me like change is in the air."\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel10final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel10final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel10final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel10final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel11final.png\" alt=\"Inside the cafeteria, two police officers stand over two patrons sitting in a booth. "What have we here? Some men in dresses having a tea party," one officer says. The other officer replies, "Tea party? Nah... These aren't respectable folks, just hookers high on drugs!" Then, one of the patrons addresses the cops: "We're more respectable than you'll ever be!"\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel11final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel11final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel11final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel11final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977216\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel12final.png\" alt=\"A police officer bangs the table with his fist, shouting, "What did you say to me?" The friend of the woman who spoke up earlier intervenes, saying, "Please, officer... don't mind her. We're just having a cup of coffee here. Just minding our own business..."\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel12final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel12final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel12final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel12final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel13final.png\" alt=\""I didn't ask you! I was talking to this uppity one, here," the officer replies, grabbing the arm of the woman. "Ow!! Help!" she yells out for help.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel13final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel13final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel13final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel13final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977219\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel14final.png\" alt='\"Take your hands off of her!\" the friend responds, with her brows furled. \"You talking back to me, trash?\" replies the officers, outside of the frame.' width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel14final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel14final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel14final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel14final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977218\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel15final.png\" alt=\""We're no one's trash!" shouts one of the women, throwing a cup of coffee in the officer's face.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel15final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel15final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel15final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel15final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977214\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel16final.png\" alt='With that thrown cup of coffee, the cafeteria erupted. Tables were overturned, sugar shakers thrown through windows, plates shattered, and eventually the fighting spilled out into the streets. \"We just got tired of being harassed. We wanted our rights,\" Amanda St. Jaymes reflects in an interview.' width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel16final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel16final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel16final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel16final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel17final.png\" alt=\"The police beat the queens with batons, and they fought back with their heels and heavy purses.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel17final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel17final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel17final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel17final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977229\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel18final-scaled.jpg\" alt=\"Protesters are pictured shouting "Wear your gown all year round!" and carrying signs that read "Drag it out in the open." Even though many were beaten and arrested, a sense of empowerment and even joy was in the air. Queers had fought back! Though the community still suffers tremendous violence, especially against trans women of color, the Compton's Cafeteria Riots marked the beginning of the modern trans rights movement and a significant step towards justice. A number of transgender resources and self-help groups emerged after the riots, and trans folks in SF had more access to anti-poverty funds, employment, and services.\" width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel18final-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel18final-2000x2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel18final-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel18final-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel18final-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel18final-2048x2048.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977212\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel19final.png\" alt=\"Six blocks of the Tenderloin, between Mason, Ellis and Jones streets, were designated the world's first Transgender Cultural District in 2017. Now, there's a plaque in front of where Compton's Cafeteria used to be that honors the rioters of 1966. So, let's raise our own cups of coffee to that courageous queen, whoever she was, who threw that cup that changed SF history, and the struggle for LGBTQ rights, forever!\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel19final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel19final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel19final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel19final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13977211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel20final.png\" alt=\"This comic was reformatted from a poster created by cartoonist Justin Hall for 'The Path to Pride,' a poster series commissioned by the San Francisco Arts Commission to commemorate the 50th anniversary of SF Pride. Special thanks to Susan Stryker, Tamara Ching, and Isaac Fellman. Additional design work was done by Sonia Harris.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel20final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel20final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel20final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQEDComptonsPanel20final-1536x1536.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "review-comptons-cafeteria-riot-play-trans-women-tenderloin",
"title": "An Immersive Play at Compton’s Cafeteria, Where Trans Women Rioted in 1966",
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"headTitle": "An Immersive Play at Compton’s Cafeteria, Where Trans Women Rioted in 1966 | KQED",
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"content": "\u003cp>The new immersive play \u003cem>Compton’s Cafeteria Riot\u003c/em> takes its audience back in time to 1966, and into the seats and tables of a San Francisco diner where trans women and gay hustlers faced off against abusive police.\u003c/p>\n\u003cp>This real-life riot occurred three years before a similar rebellion at New York’s Stonewall Inn, which kicked off the modern-day gay rights movement. While Stonewall became queer canon, the riot at Compton’s was all but forgotten until historian Susan Stryker brought it to the world with her \u003ca href=\"https://www.kqed.org/arts/11838357/in-66-on-one-hot-august-night-trans-women-fought-for-their-rights\">2005 documentary \u003ci>Screaming Queens\u003c/i>\u003c/a>. In the 20 years since, the riot has become a beacon for trans people fighting for their rights in San Francisco. [aside postid='arts_11838357']\u003c/p>\n\u003cp>Yet the conflict in the play isn’t limited to trans women and the cops who routinely arrest them and brutalize them for wearing women’s clothing — it occurs among the women themselves. Some work in the sex trade because discrimination leaves them without job prospects. Others strive to pass as cis because their safety depends on it. Compton’s Cafeteria, a late-night diner, is one of the few places they can come together and be themselves, but it’s impossible to keep oppressive outside forces at bay. Under the constant threat of violence and harassment, the women apart tear each other apart with rivalries and betrayals when they need to protect each other most.\u003c/p>\n\u003cp>Rather than separating the audience from the actors, \u003cem>Compton’s Cafeteria Riot\u003c/em> puts viewers in the middle of the action. Upon entering the cafe-turned-theater on Larkin Street in the Tenderloin, just blocks from the original Compton’s location on Turk and Taylor, actors in 1960s waitress uniforms serve attendees an old-school plate of pancakes and sausage, complete with an unpretentious cup of diner coffee.\u003c/p>\n\u003cfigure id=\"attachment_13975974\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975974\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-scaled.jpeg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-scaled.jpeg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-1020x1530.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-1365x2048.jpeg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-1920x2880.jpeg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Lavale Williams-Davis as Nicki in ‘Compton’s Cafeteria Riot.’ \u003ccite>(Reese Brindisi Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once the story begins, you’re a fly on the wall observing the characters’ comings and goings, and before long, you’re bantering with them between scenes, growing emotionally invested in each storyline. Compton’s regular Suki (a charismatic, confident Jaylyn Abergas) and Frankie, a Navy sailor (played by a swooning Jonah Hezekiah Bessellieu), are lovers whose romance implodes when Suki’s trans-ness becomes a threat to Frankie’s masculinity. Doe-eyed Rusty (Shane Zaldivar) is a young trans woman finding her way as the more experienced Collette (Saoirse Grace) and Nicki (Lavale Williams-Davis) warn her of the dangers on the street.\u003c/p>\n\u003cp>Haughty, egotistical Vicki (Matthew Giesecke) is hellbent on revenge when she’s outed and fired from her secretary job. But while Vicki’s Regina George-esque antagonism drives the plot, the sadistic Officer Johnson (Tony Cardoza) is the true villain. Amid all the interpersonal drama, two activists from a radical group called Vanguard, Adrian (Casimir Kotarski) and Dixie (Maurice André San-Chez), become the moral heart of the story as they desperately try to convince everyone to remember who the real enemy is.\u003c/p>\n\u003cfigure id=\"attachment_13975973\" class=\"wp-caption aligncenter\" style=\"max-width: 1664px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-scaled.jpeg\" alt=\"A young man in glasses and a sweater stands next to his copy of 'Marxism.'\" width=\"1664\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-scaled.jpeg 1664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-800x1231.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-1020x1569.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-160x246.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-768x1182.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-998x1536.jpeg 998w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-1331x2048.jpeg 1331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-1920x2954.jpeg 1920w\" sizes=\"auto, (max-width: 1664px) 100vw, 1664px\">\u003cfigcaption class=\"wp-caption-text\">Adrian (Casimir Kotarski) is an idealistic activist from Vanguard in ‘Compton’s Cafeteria Riot.’ \u003ccite>(Reese Brindisi Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Co-written by Donna Personna and Collette LeGrande — who both hung out at Compton’s Cafeteria in the ’60s — and immersive theater artist Mark Nassar, \u003cem>Compton’s Cafeteria Riot\u003c/em> brilliantly shows how conflicting perspectives arise among complicated people trying to survive a brutal world. Whether or not she passes as cis, whether she works the streets or a mainstream job, each woman finds herself in a precarious position. Each has her reasons for not wanting to make herself a target by signing a petition or joining a protest — until there’s no other option. [aside postid='arts_13960471']\u003c/p>\n\u003cp>Narrated by an older Vicki (Robyn Adams) looking back at her past, the interstitial monologues can initially seem heavy-handed as Vicki underscores the gravity of history. But the play finds its groove. With a subject matter that’s still not widely known in the mainstream public, that scene-setting is crucial to make \u003cem>Compton’s Cafeteria Riot\u003c/em> accessible. Meanwhile, historical easter eggs — such as references to Finocchio’s, the world-renowned drag club that opened in the 1920s, and Elliott Blackstone, a police officer who sided with trans women after the riot and lobbied for better treatment and resources — offer curious playgoers more to learn about after they leave the diner. [ad fullwidth]\u003c/p>\n\u003cp>To younger generations, the ’60s may seem like ancient history. But it wasn’t very long ago that dressing in gender-nonconforming clothing or dancing with someone of the same sex were arrestable offenses. We’re lucky that some of the people who lived through it are still here to tell the tale. With trans rights under attack once again, these elders and their perspectives are precious. We can all learn from them, and \u003cem>Compton’s Cafeteria Riot\u003c/em> is the perfect place to start.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Compton’s Cafeteria Riot’ is produced by the Tenderloin Museum. It runs every Friday and Saturday at 7 p.m. through July 26 (with additional dates expected) at 835 Larkin St. in San Francisco. \u003ca href=\"https://www.tickettailor.com/events/comptonscafeteriariotplay/1511421\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new immersive play \u003cem>Compton’s Cafeteria Riot\u003c/em> takes its audience back in time to 1966, and into the seats and tables of a San Francisco diner where trans women and gay hustlers faced off against abusive police.\u003c/p>\n\u003cp>This real-life riot occurred three years before a similar rebellion at New York’s Stonewall Inn, which kicked off the modern-day gay rights movement. While Stonewall became queer canon, the riot at Compton’s was all but forgotten until historian Susan Stryker brought it to the world with her \u003ca href=\"https://www.kqed.org/arts/11838357/in-66-on-one-hot-august-night-trans-women-fought-for-their-rights\">2005 documentary \u003ci>Screaming Queens\u003c/i>\u003c/a>. In the 20 years since, the riot has become a beacon for trans people fighting for their rights in San Francisco. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet the conflict in the play isn’t limited to trans women and the cops who routinely arrest them and brutalize them for wearing women’s clothing — it occurs among the women themselves. Some work in the sex trade because discrimination leaves them without job prospects. Others strive to pass as cis because their safety depends on it. Compton’s Cafeteria, a late-night diner, is one of the few places they can come together and be themselves, but it’s impossible to keep oppressive outside forces at bay. Under the constant threat of violence and harassment, the women apart tear each other apart with rivalries and betrayals when they need to protect each other most.\u003c/p>\n\u003cp>Rather than separating the audience from the actors, \u003cem>Compton’s Cafeteria Riot\u003c/em> puts viewers in the middle of the action. Upon entering the cafe-turned-theater on Larkin Street in the Tenderloin, just blocks from the original Compton’s location on Turk and Taylor, actors in 1960s waitress uniforms serve attendees an old-school plate of pancakes and sausage, complete with an unpretentious cup of diner coffee.\u003c/p>\n\u003cfigure id=\"attachment_13975974\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975974\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-scaled.jpeg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-scaled.jpeg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-1020x1530.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-1365x2048.jpeg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-1920x2880.jpeg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Lavale Williams-Davis as Nicki in ‘Compton’s Cafeteria Riot.’ \u003ccite>(Reese Brindisi Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once the story begins, you’re a fly on the wall observing the characters’ comings and goings, and before long, you’re bantering with them between scenes, growing emotionally invested in each storyline. Compton’s regular Suki (a charismatic, confident Jaylyn Abergas) and Frankie, a Navy sailor (played by a swooning Jonah Hezekiah Bessellieu), are lovers whose romance implodes when Suki’s trans-ness becomes a threat to Frankie’s masculinity. Doe-eyed Rusty (Shane Zaldivar) is a young trans woman finding her way as the more experienced Collette (Saoirse Grace) and Nicki (Lavale Williams-Davis) warn her of the dangers on the street.\u003c/p>\n\u003cp>Haughty, egotistical Vicki (Matthew Giesecke) is hellbent on revenge when she’s outed and fired from her secretary job. But while Vicki’s Regina George-esque antagonism drives the plot, the sadistic Officer Johnson (Tony Cardoza) is the true villain. Amid all the interpersonal drama, two activists from a radical group called Vanguard, Adrian (Casimir Kotarski) and Dixie (Maurice André San-Chez), become the moral heart of the story as they desperately try to convince everyone to remember who the real enemy is.\u003c/p>\n\u003cfigure id=\"attachment_13975973\" class=\"wp-caption aligncenter\" style=\"max-width: 1664px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-scaled.jpeg\" alt=\"A young man in glasses and a sweater stands next to his copy of 'Marxism.'\" width=\"1664\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-scaled.jpeg 1664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-800x1231.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-1020x1569.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-160x246.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-768x1182.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-998x1536.jpeg 998w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-1331x2048.jpeg 1331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-1920x2954.jpeg 1920w\" sizes=\"auto, (max-width: 1664px) 100vw, 1664px\">\u003cfigcaption class=\"wp-caption-text\">Adrian (Casimir Kotarski) is an idealistic activist from Vanguard in ‘Compton’s Cafeteria Riot.’ \u003ccite>(Reese Brindisi Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Co-written by Donna Personna and Collette LeGrande — who both hung out at Compton’s Cafeteria in the ’60s — and immersive theater artist Mark Nassar, \u003cem>Compton’s Cafeteria Riot\u003c/em> brilliantly shows how conflicting perspectives arise among complicated people trying to survive a brutal world. Whether or not she passes as cis, whether she works the streets or a mainstream job, each woman finds herself in a precarious position. Each has her reasons for not wanting to make herself a target by signing a petition or joining a protest — until there’s no other option. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Narrated by an older Vicki (Robyn Adams) looking back at her past, the interstitial monologues can initially seem heavy-handed as Vicki underscores the gravity of history. But the play finds its groove. With a subject matter that’s still not widely known in the mainstream public, that scene-setting is crucial to make \u003cem>Compton’s Cafeteria Riot\u003c/em> accessible. Meanwhile, historical easter eggs — such as references to Finocchio’s, the world-renowned drag club that opened in the 1920s, and Elliott Blackstone, a police officer who sided with trans women after the riot and lobbied for better treatment and resources — offer curious playgoers more to learn about after they leave the diner. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To younger generations, the ’60s may seem like ancient history. But it wasn’t very long ago that dressing in gender-nonconforming clothing or dancing with someone of the same sex were arrestable offenses. We’re lucky that some of the people who lived through it are still here to tell the tale. With trans rights under attack once again, these elders and their perspectives are precious. We can all learn from them, and \u003cem>Compton’s Cafeteria Riot\u003c/em> is the perfect place to start.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Compton’s Cafeteria Riot’ is produced by the Tenderloin Museum. It runs every Friday and Saturday at 7 p.m. through July 26 (with additional dates expected) at 835 Larkin St. in San Francisco. \u003ca href=\"https://www.tickettailor.com/events/comptonscafeteriariotplay/1511421\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Seeing Six Decades of LGBTQ+ History Through Donna Personna’s Eyes",
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"headTitle": "Seeing Six Decades of LGBTQ+ History Through Donna Personna’s Eyes | KQED",
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"content": "\u003cp>\u003ca href=\"https://www.instagram.com/donnapersonna/?hl=en\">Donna Personna\u003c/a> is a San Francisco treasure. The 77-year-old transgender activist, playwright, drag performer and fine artist has borne witness to six decades of LGBTQ+ history, and made it her mission to pass its stories of resistance down to younger generations.\u003c/p>\n\u003cp>In 2018, the immersive play she co-wrote, \u003ca href=\"https://www.comptonscafeteriariot.com/\">\u003ci>Compton’s Cafeteria Riot\u003c/i>,\u003c/a> took viewers back to 1966, when San Francisco trans women fought back against police brutality in a landmark moment of rebellion. That was three years before a similar riot in New York City — Stonewall — kicked off the modern-day gay rights movement.\u003c/p>\n\u003cp>As a teenager, Personna hung out at Compton’s, where other trans women embraced her as family decades before she began living in her truth. At the time, things like dressing in women’s clothes were illegal for those assigned male at birth. And though the fight for trans rights is not over, the change Personna has witnessed and been a part of in her lifetime is nothing short of incredible. [aside postid='arts_13835520']As she prepares to bring \u003ci>Compton’s Cafeteria Riot\u003c/i> back to the stage this fall, Personna stopped by KQED headquarters to share her stories of queer history, from Compton’s to her hippie era with legendary drag troupe The Cockettes to her activism during the AIDS epidemic. And she did so with her signature verve, charisma and raunchy humor.\u003c/p>\n\u003cp>\u003cem>This conversation has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cb>Nastia Voynovskaya: What was San Francisco like for you in the ’60s? How was the scene and the community that you found there? \u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Donna Personna:\u003c/b> As a child, I knew that I was different than all the rest. My father was a Baptist minister in San Jose, and my family was very religious. I looked at a medical book in our personal library and saw a chapter about homosexuality. One thing it said is that the child should be taken away from the family. From the age of 10 years old, I felt like I had the power to destroy my family, so I kept that a secret. But my father sometimes would come to San Francisco as a substitute preacher, so we’d all come here. I remember one time, looking through the window, I saw this guy who didn’t have any eyebrows because they were plucked. I said, “Oh, that resonates for me. That’s interesting. I’m going to come back here.” So that’s how I decided to come to San Francisco.\u003c/p>\n\u003cp>There weren’t technically gay bars. It was speakeasies. You had to know. I’d go into a dark alley that someone told me about. Then I’d knock on the door — “I’m looking for cross buns.” They open the door, and it was a gay bar with drag performances. [aside postid='arts_13960283']So I was here in San Francisco, looking for this faggot life that I wanted. And I came upon this diner at Turk and Taylor, and it reminds me of an Edward Hopper painting. It was nighttime, but it was lit up. And so I went there, and I saw beautiful women. It turned out that they were transgender women, some of them, and they were sex workers. I started sitting with them and made friends with them.\u003c/p>\n\u003cp>I feel like it wasn’t a coincidence. I was sent there by some divine power to witness this. One thing I learned there was they became family to one another. They were wonderful people, and they were good to me. And they took me on like a brother at that time.\u003c/p>\n\u003cp>I have to say this, and it’s the truth. They dealt in drugs. They had a criminal life. And, you know, never did they invite me to do drugs with them. So, I want to be able to tell that to the world, that they don’t recruit — I’m gonna talk dirty — like Christians do. They were wonderful human beings.\u003c/p>\n\u003cfigure id=\"attachment_13858702\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858702\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MyPrideLooksLike_KQED_1920.jpg\" alt=\"Pleasure Bynight, Shane Zaldivar and Donna Personna (L to R) pose in front of San Francisco City Hall ahead of the 2018 play 'The Compton's Cafeteria Riot,' which commemorates the historic LGBTQ+ uprising against police brutality.\" width=\"1920\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MyPrideLooksLike_KQED_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MyPrideLooksLike_KQED_1920-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MyPrideLooksLike_KQED_1920-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MyPrideLooksLike_KQED_1920-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MyPrideLooksLike_KQED_1920-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MyPrideLooksLike_KQED_1920-1200x720.jpg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pleasure Bynight, Shane Zaldivar and Donna Personna (L to R) pose in front of San Francisco City Hall ahead of the 2018 play ‘Compton’s Cafeteria Riot,’ which commemorates the historic LGBTQ+ uprising against police brutality. \u003ccite>(Mike Seely)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>A big reason for that was because being trans or queer at the time was so stigmatized. There was rampant job and housing discrimination that pushed people into survival sex work. And not only that, but things like “impersonating a woman” were considered a crime. So there was a lot of police brutality against those women.\u003c/b>\u003c/p>\n\u003cp>Yes, there was. They’d say it was to “deceive a man.” They didn’t have to deceive a man. Men would deceive themselves, you know. They were looking at something they wanted.\u003c/p>\n\u003cp>The women had to wear a little piece of paper that said “I’m a boy” in case a cop pulled them over. And then they’d put an artificial flower over it and strut their stuff.\u003c/p>\n\u003cp>It was horrible, the treatment that they went through. And I witnessed this, the police did everything they could to traumatize them. The first thing they would do is cut all their hair off, throw them in jail. Things to make them feel less human.\u003c/p>\n\u003cfigure id=\"attachment_13960489\" class=\"wp-caption aligncenter\" style=\"max-width: 2121px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960489\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-personna-and-nastia-scaled.jpg\" alt=\"\" width=\"2121\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-personna-and-nastia-scaled.jpg 2121w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-personna-and-nastia-800x965.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-personna-and-nastia-1020x1231.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-personna-and-nastia-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-personna-and-nastia-768x927.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-personna-and-nastia-1273x1536.jpg 1273w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-personna-and-nastia-1697x2048.jpg 1697w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-personna-and-nastia-1920x2317.jpg 1920w\" sizes=\"auto, (max-width: 2121px) 100vw, 2121px\">\u003cfigcaption class=\"wp-caption-text\">Donna Personna and KQED’s Nastia Voynovskaya at KQED headquarters in San Francisco. \u003ccite>(Christopher J. Beale)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Why was it important for you to tell the story of Compton’s in your play?\u003c/b>\u003c/p>\n\u003cp>I spent a year or two going there every weekend, and I heard their stories. I knew that I didn’t want that for me. I didn’t want to go to prison. I didn’t want to sell my body. You know, I say it this way — I’m a cheap bitch, I give it away.\u003c/p>\n\u003cp>I wanted to go to college. I wanted to have a career. I wanted to live in peace. And so I stepped away from that. I left them, and I turned into a hippie. [aside postid='arts_11838357']But, then in 2005, a person named Susan Stryker made a documentary about this riot that happened in 1966 at Compton’s. And I went to the world premiere, and it came back to me. \u003ci>Oh my God, I used to go here.\u003c/i> That was not a coincidence.\u003c/p>\n\u003cp>Fast forward to another 10 years or so at the Tenderloin Museum, where I had made a movie called \u003ci>Beautiful By Night\u003c/i> about three aging drag queens from Aunt Charlie’s Lounge, where I’m a regular. I’m still there, a Hot Boxx Girl.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/106252146?h=86944ee749&title=0&byline=0&portrait=0&badge=0\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>This man named Mark Nasser, who is a playwright himself, was there. He wrote a successful play called \u003ca href=\"https://www.tonylovestina.com/about-tony-n-tinas-wedding\">\u003ci>Tony ‘N Tina’s Wedding\u003c/i>\u003c/a>, which had a 15-year successful run in Los Angeles, San Francisco and New York City. He asked to speak to me, and he said that he wanted to write another play, and this time he wanted it to be of substance, and make a difference. I had a meeting with him, and the long and short of it is we decided to write a play about Compton’s Cafeteria.\u003c/p>\n\u003cp>It’s important to me because it happened three years before Stonewall, and it seems like everyone in the world knows about Stonewall. I want it to be known that transgender people were part of gaining justice and liberation for the entire LGBTQ community, and ultimately for human beings. Justice and liberation and rights are best gained by the demographics that needs them and wants them.\u003c/p>\n\u003cp>This story was hidden for over 50 years, and that’s one of my driving forces for everything I do today. Like, what if it had never been uncovered? I just break out in a sweat when I think about that. [aside postid='arts_13854644']\u003cb>In the ’70s you hung out with The Cockettes, who people have described as a hippie drag troupe on acid. What were you getting up to in that era?\u003c/b>\u003c/p>\n\u003cp>I wanted to be frivolous. So I kept coming to San Francisco. I’ll try to make it short — some man that was after this body, well, I met him in a club in North Beach. He was producing a movie with \u003ca href=\"https://www.kqed.org/arts/13910612/the-cockettes-san-francisco-public-library-fayette-hauser-scrumbly\">The Cockettes\u003c/a>. I started dating him, and he took me to the filming of \u003ca href=\"https://www.nypl.org/blog/2024/06/07/queer-artists-and-performance-dive-through-library-performing-arts-archives\">\u003ci>Elevator Girls in Bondage\u003c/i>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13854808\" class=\"wp-caption aligncenter\" style=\"max-width: 1439px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13854808\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3.jpg\" alt=\"Clay Geerdes, Cockettes go shopping, 1971.\" width=\"1439\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3.jpg 1439w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-160x228.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-800x1139.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-768x1093.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-1020x1452.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-843x1200.jpg 843w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-1920x2733.jpg 1920w\" sizes=\"auto, (max-width: 1439px) 100vw, 1439px\">\u003cfigcaption class=\"wp-caption-text\">Clay Geerdes, Cockettes go shopping, 1971. \u003ccite>(Courtesy of David Miller, from the estate of Clay Geerdes.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Cockettes only lasted a couple years, but they’re world-famous and they’re San Francisco royalty. And LSD — I don’t know if it still does — but it opens up the doors of perception. It did that for this troupe, and they got really wild. They decided that having genitals of the male ilk was OK on stage. The name Cockettes, it’s derived from the New York Rockettes.\u003c/p>\n\u003cp>So I hung out with them, and I met Divine and Sylvester. It was a wonderful time. [aside postid='arts_13960094']\u003cb>So legendary. But of course, it was also a tumultuous time in the ’70s. The first gay elected official in California, Harvey Milk, was assassinated. And the community protested in response. Can you tell us about that?\u003c/b>\u003c/p>\n\u003cp>I think the whole community felt this way: I was absolutely devastated. He was a politician and an activist, and it looked like we were on our way to being normal human beings and getting what everybody deserves just by being alive and breathing. And so for him to be assassinated, I thought, OK, it’s all over. Everything that we gained is gone. I was there the night of the \u003ca href=\"https://www.history.com/news/what-were-the-white-night-riots\">White Nights\u003c/a>. I carried a little white water cup with a candle, and we walked from the Castro to City Hall. You could not see the street; it was full of people. There were people on the tops of cars. There were people hanging out of the buildings.\u003c/p>\n\u003cp>We were all heartbroken, but we wanted to do this to demonstrate how we felt and like, we’re not going to take this. We’re going to do something about this.\u003c/p>\n\u003cp>\u003cb>The ’80s brought the devastation of the AIDS crisis, which the federal government was ignoring and treating like a “gay disease.” How did you and other activists respond to that and rally around the people that were sick and dying? \u003c/b>[aside postid='arts_13859408']Ronald Reagan and the government were not speaking of it at all, and were doing nothing about it. And the consensus was, “They’re getting what they deserve.” To walk around like that, I want you to try to imagine — you feel like you’ve been doing something wrong.\u003c/p>\n\u003cp>I joined a couple of three groups, FOG (Friends of Gays), SIR (Society for Individual Rights) and something called ACT UP (AIDS Coalition To Unleash Power). And with those groups, we went to people suffering from AIDS, dying from AIDS, and helped them out. I personally would go to the hospitals and go into the rooms with them. At that time, everyone in the hospital had protective gear, and they gave me a mask and they said, if you want, you can go in there. I would go into this room and hold a guy’s hand, and I would do things for him, like help pay his bills, try to contact his family, things like that.\u003c/p>\n\u003cp>That’s at the same time that lesbians stepped in too and took care of them. That was a way for the community at large to all come together. At that time and before, lesbians and gay men did not like each other. But that’s when I believe that they kind of came together, and haven’t felt that way since.\u003c/p>\n\u003cfigure id=\"attachment_13960490\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-film-poster-scaled.jpg\" alt=\"\" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-film-poster-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-film-poster-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-film-poster-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-film-poster-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-film-poster-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-film-poster-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-film-poster-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-film-poster-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Donna Personna starred in a 2022 documentary about her life. \u003ccite>(Jay Bedwani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>I also want to talk about your very accomplished career as an artist and as a performer. I was surprised to learn that you only began doing drag about 20 years ago, which coincided with your journey of coming out as a trans woman. Could you tell us about that journey?\u003c/b>\u003c/p>\n\u003cp>To circle back to the beginning, I was so fearful from the age of 10 years old that I could do harm to my family. So I never dressed up like a woman. And I had friends who did drag just for fun — I never did any of that.\u003c/p>\n\u003cp>But in 2005, I got back together with The Cockettes. Rumi Missabu, one of the founders, had what he called salons, like Gertrude Stein did in Paris, where he would have art in his apartment. And along with that, he would do something called the Blue Hour, where he would have the artists perform. So he let me show some of my art.\u003c/p>\n\u003cp>I was 60 years old when I started and I have now had over 20, 25 professional art exhibitions that I’m a part of. And I’m a performer. I waited a long time, but wow — I say that because I have performed in over 100 different venues in two different countries, so I’m proud.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Donna Personna performs at San Francisco City Hall on Sunday, June 30, during \u003ca href=\"https://sfpride.org/chp\">SF Pride\u003c/a>. On Saturdays, she lip syncs at Hot Boxxx Girls at \u003ca href=\"https://www.auntcharlieslounge.com/\">Aunt Charlie’s Lounge in San Francisco\u003c/a>. Her play ‘\u003ca href=\"https://www.comptonscafeteriariot.com/\">Compton’s Cafeteria Riot\u003c/a>\u003cb>’\u003c/b> returns to San Francisco this fall.\u003c/em>\u003c/p>\n\n",
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"title": "Seeing Six Decades of LGBTQ+ History Through Donna Personna’s Eyes | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/donnapersonna/?hl=en\">Donna Personna\u003c/a> is a San Francisco treasure. The 77-year-old transgender activist, playwright, drag performer and fine artist has borne witness to six decades of LGBTQ+ history, and made it her mission to pass its stories of resistance down to younger generations.\u003c/p>\n\u003cp>In 2018, the immersive play she co-wrote, \u003ca href=\"https://www.comptonscafeteriariot.com/\">\u003ci>Compton’s Cafeteria Riot\u003c/i>,\u003c/a> took viewers back to 1966, when San Francisco trans women fought back against police brutality in a landmark moment of rebellion. That was three years before a similar riot in New York City — Stonewall — kicked off the modern-day gay rights movement.\u003c/p>\n\u003cp>As a teenager, Personna hung out at Compton’s, where other trans women embraced her as family decades before she began living in her truth. At the time, things like dressing in women’s clothes were illegal for those assigned male at birth. And though the fight for trans rights is not over, the change Personna has witnessed and been a part of in her lifetime is nothing short of incredible. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As she prepares to bring \u003ci>Compton’s Cafeteria Riot\u003c/i> back to the stage this fall, Personna stopped by KQED headquarters to share her stories of queer history, from Compton’s to her hippie era with legendary drag troupe The Cockettes to her activism during the AIDS epidemic. And she did so with her signature verve, charisma and raunchy humor.\u003c/p>\n\u003cp>\u003cem>This conversation has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cb>Nastia Voynovskaya: What was San Francisco like for you in the ’60s? How was the scene and the community that you found there? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Donna Personna:\u003c/b> As a child, I knew that I was different than all the rest. My father was a Baptist minister in San Jose, and my family was very religious. I looked at a medical book in our personal library and saw a chapter about homosexuality. One thing it said is that the child should be taken away from the family. From the age of 10 years old, I felt like I had the power to destroy my family, so I kept that a secret. But my father sometimes would come to San Francisco as a substitute preacher, so we’d all come here. I remember one time, looking through the window, I saw this guy who didn’t have any eyebrows because they were plucked. I said, “Oh, that resonates for me. That’s interesting. I’m going to come back here.” So that’s how I decided to come to San Francisco.\u003c/p>\n\u003cp>There weren’t technically gay bars. It was speakeasies. You had to know. I’d go into a dark alley that someone told me about. Then I’d knock on the door — “I’m looking for cross buns.” They open the door, and it was a gay bar with drag performances. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So I was here in San Francisco, looking for this faggot life that I wanted. And I came upon this diner at Turk and Taylor, and it reminds me of an Edward Hopper painting. It was nighttime, but it was lit up. And so I went there, and I saw beautiful women. It turned out that they were transgender women, some of them, and they were sex workers. I started sitting with them and made friends with them.\u003c/p>\n\u003cp>I feel like it wasn’t a coincidence. I was sent there by some divine power to witness this. One thing I learned there was they became family to one another. They were wonderful people, and they were good to me. And they took me on like a brother at that time.\u003c/p>\n\u003cp>I have to say this, and it’s the truth. They dealt in drugs. They had a criminal life. And, you know, never did they invite me to do drugs with them. So, I want to be able to tell that to the world, that they don’t recruit — I’m gonna talk dirty — like Christians do. They were wonderful human beings.\u003c/p>\n\u003cfigure id=\"attachment_13858702\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858702\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MyPrideLooksLike_KQED_1920.jpg\" alt=\"Pleasure Bynight, Shane Zaldivar and Donna Personna (L to R) pose in front of San Francisco City Hall ahead of the 2018 play 'The Compton's Cafeteria Riot,' which commemorates the historic LGBTQ+ uprising against police brutality.\" width=\"1920\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MyPrideLooksLike_KQED_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MyPrideLooksLike_KQED_1920-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MyPrideLooksLike_KQED_1920-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MyPrideLooksLike_KQED_1920-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MyPrideLooksLike_KQED_1920-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MyPrideLooksLike_KQED_1920-1200x720.jpg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pleasure Bynight, Shane Zaldivar and Donna Personna (L to R) pose in front of San Francisco City Hall ahead of the 2018 play ‘Compton’s Cafeteria Riot,’ which commemorates the historic LGBTQ+ uprising against police brutality. \u003ccite>(Mike Seely)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>A big reason for that was because being trans or queer at the time was so stigmatized. There was rampant job and housing discrimination that pushed people into survival sex work. And not only that, but things like “impersonating a woman” were considered a crime. So there was a lot of police brutality against those women.\u003c/b>\u003c/p>\n\u003cp>Yes, there was. They’d say it was to “deceive a man.” They didn’t have to deceive a man. Men would deceive themselves, you know. They were looking at something they wanted.\u003c/p>\n\u003cp>The women had to wear a little piece of paper that said “I’m a boy” in case a cop pulled them over. And then they’d put an artificial flower over it and strut their stuff.\u003c/p>\n\u003cp>It was horrible, the treatment that they went through. And I witnessed this, the police did everything they could to traumatize them. The first thing they would do is cut all their hair off, throw them in jail. Things to make them feel less human.\u003c/p>\n\u003cfigure id=\"attachment_13960489\" class=\"wp-caption aligncenter\" style=\"max-width: 2121px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960489\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-personna-and-nastia-scaled.jpg\" alt=\"\" width=\"2121\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-personna-and-nastia-scaled.jpg 2121w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-personna-and-nastia-800x965.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-personna-and-nastia-1020x1231.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-personna-and-nastia-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-personna-and-nastia-768x927.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-personna-and-nastia-1273x1536.jpg 1273w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-personna-and-nastia-1697x2048.jpg 1697w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-personna-and-nastia-1920x2317.jpg 1920w\" sizes=\"auto, (max-width: 2121px) 100vw, 2121px\">\u003cfigcaption class=\"wp-caption-text\">Donna Personna and KQED’s Nastia Voynovskaya at KQED headquarters in San Francisco. \u003ccite>(Christopher J. Beale)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Why was it important for you to tell the story of Compton’s in your play?\u003c/b>\u003c/p>\n\u003cp>I spent a year or two going there every weekend, and I heard their stories. I knew that I didn’t want that for me. I didn’t want to go to prison. I didn’t want to sell my body. You know, I say it this way — I’m a cheap bitch, I give it away.\u003c/p>\n\u003cp>I wanted to go to college. I wanted to have a career. I wanted to live in peace. And so I stepped away from that. I left them, and I turned into a hippie. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But, then in 2005, a person named Susan Stryker made a documentary about this riot that happened in 1966 at Compton’s. And I went to the world premiere, and it came back to me. \u003ci>Oh my God, I used to go here.\u003c/i> That was not a coincidence.\u003c/p>\n\u003cp>Fast forward to another 10 years or so at the Tenderloin Museum, where I had made a movie called \u003ci>Beautiful By Night\u003c/i> about three aging drag queens from Aunt Charlie’s Lounge, where I’m a regular. I’m still there, a Hot Boxx Girl.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/106252146?h=86944ee749&title=0&byline=0&portrait=0&badge=0\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>This man named Mark Nasser, who is a playwright himself, was there. He wrote a successful play called \u003ca href=\"https://www.tonylovestina.com/about-tony-n-tinas-wedding\">\u003ci>Tony ‘N Tina’s Wedding\u003c/i>\u003c/a>, which had a 15-year successful run in Los Angeles, San Francisco and New York City. He asked to speak to me, and he said that he wanted to write another play, and this time he wanted it to be of substance, and make a difference. I had a meeting with him, and the long and short of it is we decided to write a play about Compton’s Cafeteria.\u003c/p>\n\u003cp>It’s important to me because it happened three years before Stonewall, and it seems like everyone in the world knows about Stonewall. I want it to be known that transgender people were part of gaining justice and liberation for the entire LGBTQ community, and ultimately for human beings. Justice and liberation and rights are best gained by the demographics that needs them and wants them.\u003c/p>\n\u003cp>This story was hidden for over 50 years, and that’s one of my driving forces for everything I do today. Like, what if it had never been uncovered? I just break out in a sweat when I think about that. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cb>In the ’70s you hung out with The Cockettes, who people have described as a hippie drag troupe on acid. What were you getting up to in that era?\u003c/b>\u003c/p>\n\u003cp>I wanted to be frivolous. So I kept coming to San Francisco. I’ll try to make it short — some man that was after this body, well, I met him in a club in North Beach. He was producing a movie with \u003ca href=\"https://www.kqed.org/arts/13910612/the-cockettes-san-francisco-public-library-fayette-hauser-scrumbly\">The Cockettes\u003c/a>. I started dating him, and he took me to the filming of \u003ca href=\"https://www.nypl.org/blog/2024/06/07/queer-artists-and-performance-dive-through-library-performing-arts-archives\">\u003ci>Elevator Girls in Bondage\u003c/i>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13854808\" class=\"wp-caption aligncenter\" style=\"max-width: 1439px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13854808\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3.jpg\" alt=\"Clay Geerdes, Cockettes go shopping, 1971.\" width=\"1439\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3.jpg 1439w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-160x228.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-800x1139.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-768x1093.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-1020x1452.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-843x1200.jpg 843w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-1920x2733.jpg 1920w\" sizes=\"auto, (max-width: 1439px) 100vw, 1439px\">\u003cfigcaption class=\"wp-caption-text\">Clay Geerdes, Cockettes go shopping, 1971. \u003ccite>(Courtesy of David Miller, from the estate of Clay Geerdes.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Cockettes only lasted a couple years, but they’re world-famous and they’re San Francisco royalty. And LSD — I don’t know if it still does — but it opens up the doors of perception. It did that for this troupe, and they got really wild. They decided that having genitals of the male ilk was OK on stage. The name Cockettes, it’s derived from the New York Rockettes.\u003c/p>\n\u003cp>So I hung out with them, and I met Divine and Sylvester. It was a wonderful time. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cb>So legendary. But of course, it was also a tumultuous time in the ’70s. The first gay elected official in California, Harvey Milk, was assassinated. And the community protested in response. Can you tell us about that?\u003c/b>\u003c/p>\n\u003cp>I think the whole community felt this way: I was absolutely devastated. He was a politician and an activist, and it looked like we were on our way to being normal human beings and getting what everybody deserves just by being alive and breathing. And so for him to be assassinated, I thought, OK, it’s all over. Everything that we gained is gone. I was there the night of the \u003ca href=\"https://www.history.com/news/what-were-the-white-night-riots\">White Nights\u003c/a>. I carried a little white water cup with a candle, and we walked from the Castro to City Hall. You could not see the street; it was full of people. There were people on the tops of cars. There were people hanging out of the buildings.\u003c/p>\n\u003cp>We were all heartbroken, but we wanted to do this to demonstrate how we felt and like, we’re not going to take this. We’re going to do something about this.\u003c/p>\n\u003cp>\u003cb>The ’80s brought the devastation of the AIDS crisis, which the federal government was ignoring and treating like a “gay disease.” How did you and other activists respond to that and rally around the people that were sick and dying? \u003c/b>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ronald Reagan and the government were not speaking of it at all, and were doing nothing about it. And the consensus was, “They’re getting what they deserve.” To walk around like that, I want you to try to imagine — you feel like you’ve been doing something wrong.\u003c/p>\n\u003cp>I joined a couple of three groups, FOG (Friends of Gays), SIR (Society for Individual Rights) and something called ACT UP (AIDS Coalition To Unleash Power). And with those groups, we went to people suffering from AIDS, dying from AIDS, and helped them out. I personally would go to the hospitals and go into the rooms with them. At that time, everyone in the hospital had protective gear, and they gave me a mask and they said, if you want, you can go in there. I would go into this room and hold a guy’s hand, and I would do things for him, like help pay his bills, try to contact his family, things like that.\u003c/p>\n\u003cp>That’s at the same time that lesbians stepped in too and took care of them. That was a way for the community at large to all come together. At that time and before, lesbians and gay men did not like each other. But that’s when I believe that they kind of came together, and haven’t felt that way since.\u003c/p>\n\u003cfigure id=\"attachment_13960490\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-film-poster-scaled.jpg\" alt=\"\" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-film-poster-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-film-poster-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-film-poster-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-film-poster-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-film-poster-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-film-poster-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-film-poster-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/donna-film-poster-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Donna Personna starred in a 2022 documentary about her life. \u003ccite>(Jay Bedwani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>I also want to talk about your very accomplished career as an artist and as a performer. I was surprised to learn that you only began doing drag about 20 years ago, which coincided with your journey of coming out as a trans woman. Could you tell us about that journey?\u003c/b>\u003c/p>\n\u003cp>To circle back to the beginning, I was so fearful from the age of 10 years old that I could do harm to my family. So I never dressed up like a woman. And I had friends who did drag just for fun — I never did any of that.\u003c/p>\n\u003cp>But in 2005, I got back together with The Cockettes. Rumi Missabu, one of the founders, had what he called salons, like Gertrude Stein did in Paris, where he would have art in his apartment. And along with that, he would do something called the Blue Hour, where he would have the artists perform. So he let me show some of my art.\u003c/p>\n\u003cp>I was 60 years old when I started and I have now had over 20, 25 professional art exhibitions that I’m a part of. And I’m a performer. I waited a long time, but wow — I say that because I have performed in over 100 different venues in two different countries, so I’m proud.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Donna Personna performs at San Francisco City Hall on Sunday, June 30, during \u003ca href=\"https://sfpride.org/chp\">SF Pride\u003c/a>. On Saturdays, she lip syncs at Hot Boxxx Girls at \u003ca href=\"https://www.auntcharlieslounge.com/\">Aunt Charlie’s Lounge in San Francisco\u003c/a>. Her play ‘\u003ca href=\"https://www.comptonscafeteriariot.com/\">Compton’s Cafeteria Riot\u003c/a>\u003cb>’\u003c/b> returns to San Francisco this fall.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Human memory can be triggered by certain smells, sounds or even a photo. It’s funny how the mind works; one small symbol can lead to the rehashing of feelings from years ago.\u003c/p>\n\u003cp>The latest work from artist \u003ca href=\"https://www.instagram.com/marcelpardoa/\" target=\"_blank\" rel=\"noopener\">Marcel Pardo Ariza\u003c/a> urges people to take a trip down memory lane by using images of gone-but-not-forgotten bar signs. Pardo Ariza is clear: these bars served more than booze. They were sanctuaries for folks from San Francisco’s queer and trans community, and should be celebrated as such.\u003c/p>\n\u003cfigure id=\"attachment_13960327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960327 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-800x535.jpg\" alt='Marcel Pardo Ariza wears a blue button-up shirt while standing in front of their latest work behind a windowfront, \"All The Nights We Got To Dance.\"' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2.jpg 1616w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Marcel Pardo Ariza and their latest installation, ‘All The Nights We Got To Dance.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13960341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960341 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-800x583.jpg\" alt=\"On a yellow background, are illustrations of historic Queer and Trans bar signs including Gene Compton’s Cafeteria, Esta Noche, Amelia’s, The Pendulum and more. \" width=\"800\" height=\"583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1536x1119.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-2048x1491.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1920x1398.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mockup of the site specific installation ‘All The Nights We Got To Dance.’ \u003ccite>(courtesy of Marcel Pardo Ariza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>All The Nights We Got To Dance\u003c/em> is a site-specific installation in the ground-floor window of The Line Hotel in San Francisco’s Transgender Cultural District. A sunset orange backdrop is covered in hand-painted wooden replicas of bar signs, such as The Lexington, Esta Noche and \u003ca href=\"https://www.glbthistory.org/primary-source-set-finocchios#:~:text=Finocchio's%20opened%20in%20the%20late,tourists%20and%20the%20queer%20community.\" target=\"_blank\" rel=\"noopener\">Finocchio’s\u003c/a> — a club credited as one of the earliest incubators of drag shows in the U.S.\u003c/p>\n\u003cp>[aside postID='arts_13936474']Born in Colombia and based in Oakland, Pardo Ariza worked closely with \u003ca href=\"https://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s GLBT Historical Society \u003c/a>for their latest project\u003ca href=\"https://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">, \u003c/a>leveraging the center’s rich archives to inform their work.\u003c/p>\n\u003cp>This week on Rightnowish, we catch up with Pardo Ariza to take a look at their latest installation before heading over to the GLBT Historical Society’s \u003ca href=\"https://www.glbthistory.org/archives-about-visitor-info\">archives\u003c/a>. There, we meet up with Issac Fellman, the center’s managing reference archivist, who brings us files full of actual handbills, photos, flyers and ephemera from all the nights people danced.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7628242492\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>As a choreographer and as a trans person, Sean Dorsey felt irresistibly drawn to San Francisco. “It was this deep gut calling,” he says. “For so many trans and queer folks, San Francisco is the only place that we can live.” And yet, the city he moved to in the early 2000s was not the city he had envisioned.\u003c/p>\n\u003cp>“I thought, ‘This is it, I’m finally going to live in this city and meet the hundreds of other \u003cspan style=\"font-weight: 400\">transgender modern dance choreographers \u003c/span>\u003cspan style=\"font-weight: 400\">who must be living here,’” he recalls. “And there were none. There were trans hip-hop artists, visual artists, musicians, playwrights and writers. But when it came to trans modern dance choreographers or dancers, it was like crickets. And nobody was putting trans artists onstage.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg\" alt=\"Four dancers in magenta gowns perform modern dance choreography against pillars at a cliff overlooking the Pacific ocean in San Francisco, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol Simonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dorsey spent the next two decades championing trans and queer performing arts in the city, hand in hand with his life partner, the musician, filmmaker and transgender activist Shawna Virago. Their \u003ca href=\"https://www.freshmeatfest.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Festival\u003c/a> is in its 21st season of showcasing trans and queer performance; Sean Dorsey Dance has toured innovative modern dance to more than 30 cities in the U.S. and abroad; and accolades have arrived in the form of prestigious national awards, commissions and grants.\u003c/p>\n\u003cp>And while San Francisco has offered Dorsey fertile ground for artmaking, and a community hungry to see itself represented onstage, he has returned the favor by enriching the city’s awareness of itself. “San Francisco is this incredible epicenter of trans and queer history of resistance,” he says. New York City’s Stonewall gets all the glory, but it was in the Tenderloin at \u003ca href=\"https://www.youtube.com/watch?v=G-WASW9dRBU\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria \u003c/a>where drag queens and trans women of color first resisted police harassment and rioted for their rights, in August 1966—nearly three years before Stonewall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dorsey unearthed the city’s deep, rich, influential legacy of trans and queer lives in an epic dance-theater trilogy of \u003ci>\u003cspan style=\"font-weight: 400\">Uncovered: The Diary Project\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Secret History of Love\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Missing Generation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Theatrical, humorous, deeply compassionate and beautifully danced, those works made space for people of all identities to gather and truly see each other. “My goal is to make dances that people can relate to deeply and are transformed by in some way,” he says. “I want all of us to be breathing together, dreaming together, sharing compassion and story and embodiment.”\u003c/span>\u003c/p>\n\u003cp>That sense of hope is at the heart of Dorsey’s new work, \u003ca href=\"https://seandorseydance.com/works/the-lost-art-of-dreaming/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. It’s also the impetus for a new, forward-looking phase of Dorsey’s artistic life, focused on encouraging trans and nonbinary people to claim their right to a life they love. “So many trans people are told that we won’t have a future,” Dorsey says. “So many of us are discouraged from dreaming, are discouraged from imagining, finding love, finding community. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> invites us all to imagine expansive futures that are joyful and liberated, and in which we lift each other up with love.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg\" alt=\"Four dancers in blue and white gowns pose on a concrete sculpture resembling a bed on a grassy lawn situated near the San Francisco Bay\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol SImonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003cem>The Lost Art of\u003c/em> Dreaming\u003c/i>\u003cspan style=\"font-weight: 400\"> proposes a new paradigm through the embodied, kinesthetic art of dance. Dorsey’s modern choreography melds with the expressive dancers, spectacular couture costumes and an uninhibited, enthusiastic embrace of joy. Watching, you can sense the connection among the artists and between them and the city itself. “San Francisco is like a magical sanctuary,” Dorsey says. “It whispers to us from all across the country and around the world. Sean Dorsey Dance is by, of and for San Francisco. In this city, I stand on the shoulders of my Transcestors.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg\" alt=\"Four members of Sean Dorsey Dance are smiling and posing with filmmaker Lindsay Gauthier at the top of Twin Peaks with San Francisco's skyline behind them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey and his dance company pose with filmmaker Lindsay Gauthier at Twin Peaks in San Francisco on May 12, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Experience Dorsey and members of Sean Dorsey Dance perform excerpts from \u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in some of San Francisco’s most inspiring settings—\u003c/span>\u003cspan style=\"font-weight: 400\">Twin Peaks, Hillpoint Park, and the Cliff House above Ocean Beach– \u003c/span>\u003cspan style=\"font-weight: 400\">then go see them in person! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i> \u003ca href=\"https://seandorseydance.com/calendar/upcoming-events/\">\u003cspan style=\"font-weight: 400\">premieres\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> November 17–20 at Z Space. \u003cem>– Written by Claudia Bauer\u003c/em>\u003cbr>\n\u003c/span>\u003c/p>\n\n",
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"excerpt": "As anti-trans attacks escalate, an audacious dance work encourages LGBTQ+ people to claim their right to a life they love.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>As a choreographer and as a trans person, Sean Dorsey felt irresistibly drawn to San Francisco. “It was this deep gut calling,” he says. “For so many trans and queer folks, San Francisco is the only place that we can live.” And yet, the city he moved to in the early 2000s was not the city he had envisioned.\u003c/p>\n\u003cp>“I thought, ‘This is it, I’m finally going to live in this city and meet the hundreds of other \u003cspan style=\"font-weight: 400\">transgender modern dance choreographers \u003c/span>\u003cspan style=\"font-weight: 400\">who must be living here,’” he recalls. “And there were none. There were trans hip-hop artists, visual artists, musicians, playwrights and writers. But when it came to trans modern dance choreographers or dancers, it was like crickets. And nobody was putting trans artists onstage.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg\" alt=\"Four dancers in magenta gowns perform modern dance choreography against pillars at a cliff overlooking the Pacific ocean in San Francisco, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol Simonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dorsey spent the next two decades championing trans and queer performing arts in the city, hand in hand with his life partner, the musician, filmmaker and transgender activist Shawna Virago. Their \u003ca href=\"https://www.freshmeatfest.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Festival\u003c/a> is in its 21st season of showcasing trans and queer performance; Sean Dorsey Dance has toured innovative modern dance to more than 30 cities in the U.S. and abroad; and accolades have arrived in the form of prestigious national awards, commissions and grants.\u003c/p>\n\u003cp>And while San Francisco has offered Dorsey fertile ground for artmaking, and a community hungry to see itself represented onstage, he has returned the favor by enriching the city’s awareness of itself. “San Francisco is this incredible epicenter of trans and queer history of resistance,” he says. New York City’s Stonewall gets all the glory, but it was in the Tenderloin at \u003ca href=\"https://www.youtube.com/watch?v=G-WASW9dRBU\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria \u003c/a>where drag queens and trans women of color first resisted police harassment and rioted for their rights, in August 1966—nearly three years before Stonewall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dorsey unearthed the city’s deep, rich, influential legacy of trans and queer lives in an epic dance-theater trilogy of \u003ci>\u003cspan style=\"font-weight: 400\">Uncovered: The Diary Project\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Secret History of Love\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Missing Generation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Theatrical, humorous, deeply compassionate and beautifully danced, those works made space for people of all identities to gather and truly see each other. “My goal is to make dances that people can relate to deeply and are transformed by in some way,” he says. “I want all of us to be breathing together, dreaming together, sharing compassion and story and embodiment.”\u003c/span>\u003c/p>\n\u003cp>That sense of hope is at the heart of Dorsey’s new work, \u003ca href=\"https://seandorseydance.com/works/the-lost-art-of-dreaming/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. It’s also the impetus for a new, forward-looking phase of Dorsey’s artistic life, focused on encouraging trans and nonbinary people to claim their right to a life they love. “So many trans people are told that we won’t have a future,” Dorsey says. “So many of us are discouraged from dreaming, are discouraged from imagining, finding love, finding community. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> invites us all to imagine expansive futures that are joyful and liberated, and in which we lift each other up with love.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg\" alt=\"Four dancers in blue and white gowns pose on a concrete sculpture resembling a bed on a grassy lawn situated near the San Francisco Bay\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol SImonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003cem>The Lost Art of\u003c/em> Dreaming\u003c/i>\u003cspan style=\"font-weight: 400\"> proposes a new paradigm through the embodied, kinesthetic art of dance. Dorsey’s modern choreography melds with the expressive dancers, spectacular couture costumes and an uninhibited, enthusiastic embrace of joy. Watching, you can sense the connection among the artists and between them and the city itself. “San Francisco is like a magical sanctuary,” Dorsey says. “It whispers to us from all across the country and around the world. Sean Dorsey Dance is by, of and for San Francisco. In this city, I stand on the shoulders of my Transcestors.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg\" alt=\"Four members of Sean Dorsey Dance are smiling and posing with filmmaker Lindsay Gauthier at the top of Twin Peaks with San Francisco's skyline behind them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey and his dance company pose with filmmaker Lindsay Gauthier at Twin Peaks in San Francisco on May 12, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Experience Dorsey and members of Sean Dorsey Dance perform excerpts from \u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in some of San Francisco’s most inspiring settings—\u003c/span>\u003cspan style=\"font-weight: 400\">Twin Peaks, Hillpoint Park, and the Cliff House above Ocean Beach– \u003c/span>\u003cspan style=\"font-weight: 400\">then go see them in person! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i> \u003ca href=\"https://seandorseydance.com/calendar/upcoming-events/\">\u003cspan style=\"font-weight: 400\">premieres\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> November 17–20 at Z Space. \u003cem>– Written by Claudia Bauer\u003c/em>\u003cbr>\n\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How the Trans Community Reclaimed Its Rightful Place at Pride",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Mia Satya’s first \u003ca href=\"https://www.transmarch.org/\" target=\"_blank\" rel=\"noopener\">Trans March\u003c/a> was revolutionary.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> In 2010, Satya was new to the Bay Area, having come to San Francisco to escape the transphobia she experienced in Texas, where she was born. She was attending the Trans March as part of the group Trans Ladies Initiating Sisterhood, and she was about to dance in front of thousands of people for the first time ever. [aside postid='arts_13858290']\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Satya had never before had a chance like this. Dancing as her true self was an important way of defying the transphobia she’d encountered in her home state, and she was doing it in front 5,000 cheering people who were celebrating her transgender identity. “It was a life-changing opportunity,” she says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size='large' align='right' citation='Mia Satya of the San Francisco LGBT Center']“\u003cspan class=\"s1\">We’ll keep marching until we don’t have to any more.”[/pullquote]\u003c/span>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Now an employment services coordinator with the \u003ca href=\"https://www.sfcenter.org/\" target=\"_blank\" rel=\"noopener\">San Francisco LGBT Center\u003c/a>, Satya advocates for transgender people in multiple ways, including helping facilitate the Trans March every year. She also staffs the LGBT Center’s booth in the march’s resource fair, where she meets new members of the community, engages with clients the center may have lost touch with, builds connections with businesses that want to hire more trans people and spreads the word about its trans employment program. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Satya says that “all hands are on deck” for the Trans March, which takes place on June 28 this year. For the SF LGBT Center, which also supports the central Pride March and the Dyke March, being at the Trans March is a way of making a clear statement of its commitment to the transgender community. Despite great advances since the first Trans March in 2004, many trans people still feel excluded from Pride and from LGBTQ+ communities in San Francisco. The “LBG” movement has not always been inclusive to the “T,” so the LGBT Center is one of many organizations that prioritizes sending a message of openness and collaboration.\u003c/span>\u003c/p>\n\u003ch2>The fight for trans inclusion at Pride\u003c/h2>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Nowadays the Trans March is an essential part of Pride, lasting an entire day and featuring a youth and elder brunch, resource fair, transformation booth, speakers and performances. But it wasn’t always like this. [aside postid='arts_13844019']\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Though trans women of color like \u003ca href=\"https://www.kqed.org/arts/13844019/ah-mer-ah-sus-major-soundtrack-feeds-the-spirit-of-trans-resistance\" target=\"_blank\" rel=\"noopener\">Miss Major Griffin-Gracy\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Sylvia_Rivera\" target=\"_blank\" rel=\"noopener\">Sylvia Rivera\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Marsha_P._Johnson\" target=\"_blank\" rel=\"noopener\">Marsha P. Johnson\u003c/a> played an essential role in the Stonewall uprising of 1969—a riot against police brutality in New York City that sparked the modern-day gay rights movement—by the early 1970s, when Pride first came together, there was no particular space for people who wanted to celebrate transgender identity. In fact, the gay, lesbian and bisexual community often discriminated against trans people. This is reflective of the era, as transgender people were grossly misunderstood, and there were scant services available for people living as their true gender. Additionally, the gay movement had become much more mainstream—and became dominated by the white, male masculine aesthetic that characterizes it to this day.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13859036\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859036\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/trans-march-2004-2-cecilia-chung.jpg\" alt=\"The first Trans March in 2004 reclaimed the trans community's rightful place in San Francisco's Pride celebration.\" width=\"720\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trans-march-2004-2-cecilia-chung.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trans-march-2004-2-cecilia-chung-160x106.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The first Trans March in 2004 reclaimed the trans community’s rightful place in San Francisco’s Pride celebration. \u003ccite>(Cecilia Chung)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Furthermore, the gay rights movement found success with a conformist message geared towards assimilation into straight norms. Some gay and lesbian organizers feared that the inclusion of trans people would undermine the movement’s gains. These divisions were highlighted in 1973, when homosexuality was officially removed as a mental illness from the American Psychiatric Association’s \u003ci>Diagnostic and Statistical Manual of Mental Disorders. \u003c/i>It would take another 40 years for gender identity disorder, the diagnosis that was generally given to trans people, to become similarly destigmatized in 2013.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> These factors set the stage for what happened in 1973, when Pride became openly hostile toward trans people. In \u003ci>Transgender History\u003c/i>, transgender historian Susan Stryker recounts that in that year, San Francisco Pride consisted of two main events: one was a trans-friendly event, organized by gay activist and Pentecostal preacher Reverend Raymond Broshears; the other event “expressly forbid transgender people from participating.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> According to Styker, the transphobic event was the more successful one, setting the tone for decades to come: “Broshears never organized another Gay Pride event, while the anti-drag event became the forerunner of the current San Francisco LGBTQ+ Pride celebration.” (In the ’70s, people often didn’t distinguish between drag queens and transgender women. Many lesbian activists at the time believed that drag was “misogynist,” hence the Stryker’s use of “anti-drag.”) [aside postid='arts_13835520']\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Transgender activist Cecilia Chung says that by 2004 things were quite different, and the San Francisco Pride organization was very willing to support a march devoted to trans empowerment. That year, an anonymous email circulated, calling on anyone who was gender nonconforming to march in conjunction with SF Pride weekend. A number of local activists came together around the call-to-action and decided to take on the responsibility of turning the gathering into a well-organized march.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Chung, who was on the board of directors of SF Pride at the time, took on fundraising for the original Trans March. She says it raised between $3,000 and $5,000, which went into sound systems, a performance space and safety minders. Pride and the Dyke March pitched in with logistical support and Porta Potties. The sex shop Good Vibrations, which has long been a trans-friendly employer, donated water and other beverages. Altogether, somewhere around 3,000 people marched in 2004, starting at Dolores Park and making their way to Civic Center.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Chung says that the first Trans March was undertaken for a number of reasons, a major one being to demand justice for \u003ca href=\"https://www.mercurynews.com/2016/10/14/the-murder-of-gwen-araujo/\" target=\"_blank\" rel=\"noopener\">Gwen Araujo\u003c/a>. Araujo was a trans woman who was brutally beaten to death in 2002 by four men who discovered she was transgender after flirting with her, and, in the case of two, having sexual relations. The trial began shortly before the first Trans March in April 2004, with Gloria Allred representing Araujo’s family. A mistrial had just been declared. It was a bitter setback for trans rights. (Eventually, two of the men were convicted of second-degree murder; the other two pleaded guilty and no contest to manslaughter.) [aside postid='arts_13858167']\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Allred and the family of Gwen Araujo attended the march, and they were not the only high-profile visitors. Senator Kamala Harris, who at the time was San Francisco District Attorney, was there, along with a number of other prominent local politicians. The politicized tone of fighting back against injustice, inequity and the brutal murders of trans people became a central part of the Trans March that continues to this day. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> There has been a lot to fight about. The 2008 march raged against Democrats in Congress, who, led by then-congressman Barney Frank, chose to dump trans people from an LGB-friendly version of the \u003ca href=\"https://www.sfgate.com/politics/article/House-cuts-transgender-people-from-hate-crimes-2538277.php\" target=\"_blank\" rel=\"noopener\">Employment Non-Discrimination Act\u003c/a> with the support of the Human Rights Campaign.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13859037\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859037\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/hire-trans-lgbt-center-800x723.jpg\" alt=\"The SF LGBT center promotes its trans employment resource program at the 2017 Trans March.\" width=\"800\" height=\"723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/hire-trans-lgbt-center.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/hire-trans-lgbt-center-160x145.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/hire-trans-lgbt-center-768x694.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The SF LGBT center promotes its trans employment resource program at the 2017 Trans March. \u003ccite>(SF LGBT Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">The 2016 Trans March gave a key piece of transgender history a permanent space in San Francisco when it concluded with the renaming of a Tenderloin street in remembrance of the historic riot at Compton’s Cafeteria, which took place in 1966, three years before Stonewall. This incident, in which gay and transgender patrons came together to demand equal treatment and defy police harassment, was a turning point for LGBTQ+ rights. In late 2018, part of the Tenderloin became designated as the world’s first \u003ca href=\"https://www.kqed.org/news/11717648/worlds-first-transgender-culture-district-looks-to-the-past-and-the-future\" target=\"_blank\" rel=\"noopener\">Transgender Cultural District\u003c/a>. This was a much-needed victory at a time when the Trump administration introduced plans to \u003ca href=\"https://www.nytimes.com/2018/10/21/us/politics/transgender-trump-administration-sex-definition.html\" target=\"_blank\" rel=\"noopener\">severely undermine trans rights\u003c/a>.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Chung recalls that the original Trans March was an important means of bringing together activists in the Bay Area, creating an atmosphere ripe for cross-pollination. The \u003ca href=\"http://www.castrocountryclub.org/\" target=\"_blank\" rel=\"noopener\">Castro Country Club\u003c/a>, a space that supports LGBTQ+ people in substance-abuse recovery, was instrumental in producing fundraisers for the first march, establishing links between different segments of the LGBTQ+ community. Furthermore, organizations like \u003ca href=\"http://tgsf.org/\" target=\"_blank\" rel=\"noopener\">Transgender San Francisco\u003c/a> and \u003ca href=\"https://www.ftmi.org/\" target=\"_blank\" rel=\"noopener\">FTM International\u003c/a>—the first organization specifically founded to advance the interests of transmasculine people—began to meet up and work toward collaboration. “A lot of things started around that time,” Chung says, including quarterly transgender events at the SF LGBT Center, and community town halls with some 500 people in attendance.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> The march also brought about a heightened profile for transgender advocacy. Chung recalls that in advance of the second march in 2005, she was interviewed by a television reporter from England. People were coming from far away to participate in the 2005 march, and the San Francisco organizers began cooperating with a similar event in New York City, arranging bicoastal transgender events on the same day.\u003c/span>\u003c/p>\n\u003ch2>The Trans March today\u003c/h2>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Chung says that while Pride has come to be more of a celebration than a political act, today’s Trans March very much reflects its radical roots. “The march is always meant to be a political statement,” she says. This is a necessity, as trans people are still so far from having full equality under the law, as well as simply having the resources necessary to live and celebrate their identity. Reflecting the radical spirit that has led the transgender movement to find creative ways to support itself and demand its rights, the organization of the march is highly democratized, with regularly rotating leadership and an emphasis on volunteerism over institutionalization to ensure the flow of new ideas. [aside postid='arts_13858699']\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Recent developments in the Trans March reflect that spirit. Satya says that the Youth and Elder Brunch, which began in 2012, “opens up an important opportunity for dialog between generations.” In a community that still remains fractured along lines of class and age, the brunch provides a vital means of building trans community and inclusivity, staying true to the march’s earliest foundations.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> While the Trans March is an annual reminder of the many gains that trans people have made since 2004, Satya says that it’s also a way of illuminating the things that are still to be done. With the Trump administration allowing doctors to \u003ca href=\"https://www.motherjones.com/politics/2019/05/the-trump-administration-just-said-religious-doctors-can-refuse-medical-treatment-for-patients/\" target=\"_blank\" rel=\"noopener\">deny of medical services to transgender patients\u003c/a>, banning transgender servicemembers from the military and threatening to define trans people out of existence, there is a lot of action needed before trans people have their full rights as American citizens. \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“We’ll keep marching until we don’t have to any more,” Satya says. “I hope that one day we’ll pass an equality act and won’t have discrimination anywhere, but until then we need to keep marching and fighting.”\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Mia Satya’s first \u003ca href=\"https://www.transmarch.org/\" target=\"_blank\" rel=\"noopener\">Trans March\u003c/a> was revolutionary.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> In 2010, Satya was new to the Bay Area, having come to San Francisco to escape the transphobia she experienced in Texas, where she was born. She was attending the Trans March as part of the group Trans Ladies Initiating Sisterhood, and she was about to dance in front of thousands of people for the first time ever. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Satya had never before had a chance like this. Dancing as her true self was an important way of defying the transphobia she’d encountered in her home state, and she was doing it in front 5,000 cheering people who were celebrating her transgender identity. “It was a life-changing opportunity,” she says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "“\u003cspan class=\"s1\">We’ll keep marching until we don’t have to any more.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Now an employment services coordinator with the \u003ca href=\"https://www.sfcenter.org/\" target=\"_blank\" rel=\"noopener\">San Francisco LGBT Center\u003c/a>, Satya advocates for transgender people in multiple ways, including helping facilitate the Trans March every year. She also staffs the LGBT Center’s booth in the march’s resource fair, where she meets new members of the community, engages with clients the center may have lost touch with, builds connections with businesses that want to hire more trans people and spreads the word about its trans employment program. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Satya says that “all hands are on deck” for the Trans March, which takes place on June 28 this year. For the SF LGBT Center, which also supports the central Pride March and the Dyke March, being at the Trans March is a way of making a clear statement of its commitment to the transgender community. Despite great advances since the first Trans March in 2004, many trans people still feel excluded from Pride and from LGBTQ+ communities in San Francisco. The “LBG” movement has not always been inclusive to the “T,” so the LGBT Center is one of many organizations that prioritizes sending a message of openness and collaboration.\u003c/span>\u003c/p>\n\u003ch2>The fight for trans inclusion at Pride\u003c/h2>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Nowadays the Trans March is an essential part of Pride, lasting an entire day and featuring a youth and elder brunch, resource fair, transformation booth, speakers and performances. But it wasn’t always like this. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Though trans women of color like \u003ca href=\"https://www.kqed.org/arts/13844019/ah-mer-ah-sus-major-soundtrack-feeds-the-spirit-of-trans-resistance\" target=\"_blank\" rel=\"noopener\">Miss Major Griffin-Gracy\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Sylvia_Rivera\" target=\"_blank\" rel=\"noopener\">Sylvia Rivera\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Marsha_P._Johnson\" target=\"_blank\" rel=\"noopener\">Marsha P. Johnson\u003c/a> played an essential role in the Stonewall uprising of 1969—a riot against police brutality in New York City that sparked the modern-day gay rights movement—by the early 1970s, when Pride first came together, there was no particular space for people who wanted to celebrate transgender identity. In fact, the gay, lesbian and bisexual community often discriminated against trans people. This is reflective of the era, as transgender people were grossly misunderstood, and there were scant services available for people living as their true gender. Additionally, the gay movement had become much more mainstream—and became dominated by the white, male masculine aesthetic that characterizes it to this day.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13859036\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859036\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/trans-march-2004-2-cecilia-chung.jpg\" alt=\"The first Trans March in 2004 reclaimed the trans community's rightful place in San Francisco's Pride celebration.\" width=\"720\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trans-march-2004-2-cecilia-chung.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trans-march-2004-2-cecilia-chung-160x106.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The first Trans March in 2004 reclaimed the trans community’s rightful place in San Francisco’s Pride celebration. \u003ccite>(Cecilia Chung)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Furthermore, the gay rights movement found success with a conformist message geared towards assimilation into straight norms. Some gay and lesbian organizers feared that the inclusion of trans people would undermine the movement’s gains. These divisions were highlighted in 1973, when homosexuality was officially removed as a mental illness from the American Psychiatric Association’s \u003ci>Diagnostic and Statistical Manual of Mental Disorders. \u003c/i>It would take another 40 years for gender identity disorder, the diagnosis that was generally given to trans people, to become similarly destigmatized in 2013.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> These factors set the stage for what happened in 1973, when Pride became openly hostile toward trans people. In \u003ci>Transgender History\u003c/i>, transgender historian Susan Stryker recounts that in that year, San Francisco Pride consisted of two main events: one was a trans-friendly event, organized by gay activist and Pentecostal preacher Reverend Raymond Broshears; the other event “expressly forbid transgender people from participating.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> According to Styker, the transphobic event was the more successful one, setting the tone for decades to come: “Broshears never organized another Gay Pride event, while the anti-drag event became the forerunner of the current San Francisco LGBTQ+ Pride celebration.” (In the ’70s, people often didn’t distinguish between drag queens and transgender women. Many lesbian activists at the time believed that drag was “misogynist,” hence the Stryker’s use of “anti-drag.”) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Transgender activist Cecilia Chung says that by 2004 things were quite different, and the San Francisco Pride organization was very willing to support a march devoted to trans empowerment. That year, an anonymous email circulated, calling on anyone who was gender nonconforming to march in conjunction with SF Pride weekend. A number of local activists came together around the call-to-action and decided to take on the responsibility of turning the gathering into a well-organized march.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Chung, who was on the board of directors of SF Pride at the time, took on fundraising for the original Trans March. She says it raised between $3,000 and $5,000, which went into sound systems, a performance space and safety minders. Pride and the Dyke March pitched in with logistical support and Porta Potties. The sex shop Good Vibrations, which has long been a trans-friendly employer, donated water and other beverages. Altogether, somewhere around 3,000 people marched in 2004, starting at Dolores Park and making their way to Civic Center.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Chung says that the first Trans March was undertaken for a number of reasons, a major one being to demand justice for \u003ca href=\"https://www.mercurynews.com/2016/10/14/the-murder-of-gwen-araujo/\" target=\"_blank\" rel=\"noopener\">Gwen Araujo\u003c/a>. Araujo was a trans woman who was brutally beaten to death in 2002 by four men who discovered she was transgender after flirting with her, and, in the case of two, having sexual relations. The trial began shortly before the first Trans March in April 2004, with Gloria Allred representing Araujo’s family. A mistrial had just been declared. It was a bitter setback for trans rights. (Eventually, two of the men were convicted of second-degree murder; the other two pleaded guilty and no contest to manslaughter.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Allred and the family of Gwen Araujo attended the march, and they were not the only high-profile visitors. Senator Kamala Harris, who at the time was San Francisco District Attorney, was there, along with a number of other prominent local politicians. The politicized tone of fighting back against injustice, inequity and the brutal murders of trans people became a central part of the Trans March that continues to this day. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> There has been a lot to fight about. The 2008 march raged against Democrats in Congress, who, led by then-congressman Barney Frank, chose to dump trans people from an LGB-friendly version of the \u003ca href=\"https://www.sfgate.com/politics/article/House-cuts-transgender-people-from-hate-crimes-2538277.php\" target=\"_blank\" rel=\"noopener\">Employment Non-Discrimination Act\u003c/a> with the support of the Human Rights Campaign.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13859037\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859037\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/hire-trans-lgbt-center-800x723.jpg\" alt=\"The SF LGBT center promotes its trans employment resource program at the 2017 Trans March.\" width=\"800\" height=\"723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/hire-trans-lgbt-center.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/hire-trans-lgbt-center-160x145.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/hire-trans-lgbt-center-768x694.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The SF LGBT center promotes its trans employment resource program at the 2017 Trans March. \u003ccite>(SF LGBT Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">The 2016 Trans March gave a key piece of transgender history a permanent space in San Francisco when it concluded with the renaming of a Tenderloin street in remembrance of the historic riot at Compton’s Cafeteria, which took place in 1966, three years before Stonewall. This incident, in which gay and transgender patrons came together to demand equal treatment and defy police harassment, was a turning point for LGBTQ+ rights. In late 2018, part of the Tenderloin became designated as the world’s first \u003ca href=\"https://www.kqed.org/news/11717648/worlds-first-transgender-culture-district-looks-to-the-past-and-the-future\" target=\"_blank\" rel=\"noopener\">Transgender Cultural District\u003c/a>. This was a much-needed victory at a time when the Trump administration introduced plans to \u003ca href=\"https://www.nytimes.com/2018/10/21/us/politics/transgender-trump-administration-sex-definition.html\" target=\"_blank\" rel=\"noopener\">severely undermine trans rights\u003c/a>.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Chung recalls that the original Trans March was an important means of bringing together activists in the Bay Area, creating an atmosphere ripe for cross-pollination. The \u003ca href=\"http://www.castrocountryclub.org/\" target=\"_blank\" rel=\"noopener\">Castro Country Club\u003c/a>, a space that supports LGBTQ+ people in substance-abuse recovery, was instrumental in producing fundraisers for the first march, establishing links between different segments of the LGBTQ+ community. Furthermore, organizations like \u003ca href=\"http://tgsf.org/\" target=\"_blank\" rel=\"noopener\">Transgender San Francisco\u003c/a> and \u003ca href=\"https://www.ftmi.org/\" target=\"_blank\" rel=\"noopener\">FTM International\u003c/a>—the first organization specifically founded to advance the interests of transmasculine people—began to meet up and work toward collaboration. “A lot of things started around that time,” Chung says, including quarterly transgender events at the SF LGBT Center, and community town halls with some 500 people in attendance.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> The march also brought about a heightened profile for transgender advocacy. Chung recalls that in advance of the second march in 2005, she was interviewed by a television reporter from England. People were coming from far away to participate in the 2005 march, and the San Francisco organizers began cooperating with a similar event in New York City, arranging bicoastal transgender events on the same day.\u003c/span>\u003c/p>\n\u003ch2>The Trans March today\u003c/h2>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Chung says that while Pride has come to be more of a celebration than a political act, today’s Trans March very much reflects its radical roots. “The march is always meant to be a political statement,” she says. This is a necessity, as trans people are still so far from having full equality under the law, as well as simply having the resources necessary to live and celebrate their identity. Reflecting the radical spirit that has led the transgender movement to find creative ways to support itself and demand its rights, the organization of the march is highly democratized, with regularly rotating leadership and an emphasis on volunteerism over institutionalization to ensure the flow of new ideas. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Recent developments in the Trans March reflect that spirit. Satya says that the Youth and Elder Brunch, which began in 2012, “opens up an important opportunity for dialog between generations.” In a community that still remains fractured along lines of class and age, the brunch provides a vital means of building trans community and inclusivity, staying true to the march’s earliest foundations.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> While the Trans March is an annual reminder of the many gains that trans people have made since 2004, Satya says that it’s also a way of illuminating the things that are still to be done. With the Trump administration allowing doctors to \u003ca href=\"https://www.motherjones.com/politics/2019/05/the-trump-administration-just-said-religious-doctors-can-refuse-medical-treatment-for-patients/\" target=\"_blank\" rel=\"noopener\">deny of medical services to transgender patients\u003c/a>, banning transgender servicemembers from the military and threatening to define trans people out of existence, there is a lot of action needed before trans people have their full rights as American citizens. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“We’ll keep marching until we don’t have to any more,” Satya says. “I hope that one day we’ll pass an equality act and won’t have discrimination anywhere, but until then we need to keep marching and fighting.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! SF Cinematheque Salutes the Tenderloin’s Transgender History",
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"content": "\u003cp>Urban history is both concrete and fleeting, as we know firsthand from the breakneck pace of development in the Mission, SOMA and Dogpatch neighborhoods. In early 2017, local opposition to a proposed mid-Market residential and hotel complex compelled Supervisor Jane Kim to introduce legislation establishing the Compton’s Transgender, Lesbian, Gay and Bisexual District. Her bill represented a deal whereby the developer of 950-974 Market—which was wiping out some old-line gay bars in the Tenderloin—funded a venture to preserve the area’s cultural and historical legacy.\u003c/p>\n\u003cp>Whence the name? Victor Silverman and Susan Stryker’s dramatic 2005 documentary, \u003cem>Screaming Queens: The Riot at Compton’s Cafeteria\u003c/em>, unearthed the largely forgotten story of the transgender women and drag queens who got fed up with systemic police harassment in 1966 at the titular establishment at Turk and Taylor (three years before the Stonewall riots, which receive most of the credit for jumpstarting the gay rights movement).\u003c/p>\n\u003cfigure id=\"attachment_13842872\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know.jpg\" alt=\"Finn Paul & Roy Perez, Still from 'Things We Both Know (Not Our Real Names).'\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13842872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-520x293.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Finn Paul & Roy Perez, Still from ‘Things We Both Know (Not Our Real Names).’ \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco Cinematheque, the city’s stalwart exhibitor of experimental film, tapped guest programmer Malic Amalya to assemble \u003ca href=\"http://www.sfcinematheque.org/screenings/infrared/\" rel=\"noopener\" target=\"_blank\">Infrared—In Celebration of the Compton Transgender District\u003c/a>, four programs exploring private and public sexuality, identity and activism. The collection of personal portraits in “Dislocation of Existence” (Tuesday, Oct. 16 at CounterPulse, 80 Turk St.), Amalya writes, “offer ephemeral glimpses into what’s possible and pulverizing flashes of what’s been stolen.” The Oct. 30 program, “Slow/Sheltering/Shattering,” positions individual experiences and actions as catalysts for larger social movements. \u003c/p>\n\u003cp>Infrared concludes with Jeff Preiss’ ambitious personal doc \u003cem>Stop\u003c/em> (Nov. 6), which depicts his son’s coming of age over 16 years as well as the myriad changes in the physical world around him. The notion of the present slipping into history (urban and otherwise) is poignant territory for an astute filmmaker.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The personal and the political are intertwined in this experimental-film homage to the Compton’s Transgender, Lesbian, Gay and Bisexual District.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Urban history is both concrete and fleeting, as we know firsthand from the breakneck pace of development in the Mission, SOMA and Dogpatch neighborhoods. In early 2017, local opposition to a proposed mid-Market residential and hotel complex compelled Supervisor Jane Kim to introduce legislation establishing the Compton’s Transgender, Lesbian, Gay and Bisexual District. Her bill represented a deal whereby the developer of 950-974 Market—which was wiping out some old-line gay bars in the Tenderloin—funded a venture to preserve the area’s cultural and historical legacy.\u003c/p>\n\u003cp>Whence the name? Victor Silverman and Susan Stryker’s dramatic 2005 documentary, \u003cem>Screaming Queens: The Riot at Compton’s Cafeteria\u003c/em>, unearthed the largely forgotten story of the transgender women and drag queens who got fed up with systemic police harassment in 1966 at the titular establishment at Turk and Taylor (three years before the Stonewall riots, which receive most of the credit for jumpstarting the gay rights movement).\u003c/p>\n\u003cfigure id=\"attachment_13842872\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know.jpg\" alt=\"Finn Paul & Roy Perez, Still from 'Things We Both Know (Not Our Real Names).'\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13842872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-520x293.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Finn Paul & Roy Perez, Still from ‘Things We Both Know (Not Our Real Names).’ \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco Cinematheque, the city’s stalwart exhibitor of experimental film, tapped guest programmer Malic Amalya to assemble \u003ca href=\"http://www.sfcinematheque.org/screenings/infrared/\" rel=\"noopener\" target=\"_blank\">Infrared—In Celebration of the Compton Transgender District\u003c/a>, four programs exploring private and public sexuality, identity and activism. The collection of personal portraits in “Dislocation of Existence” (Tuesday, Oct. 16 at CounterPulse, 80 Turk St.), Amalya writes, “offer ephemeral glimpses into what’s possible and pulverizing flashes of what’s been stolen.” The Oct. 30 program, “Slow/Sheltering/Shattering,” positions individual experiences and actions as catalysts for larger social movements. \u003c/p>\n\u003cp>Infrared concludes with Jeff Preiss’ ambitious personal doc \u003cem>Stop\u003c/em> (Nov. 6), which depicts his son’s coming of age over 16 years as well as the myriad changes in the physical world around him. The notion of the present slipping into history (urban and otherwise) is poignant territory for an astute filmmaker.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Editor’s Note: The performances in this video include reenactments of police brutality against transgender women and descriptions of sexual assault. Viewer discretion advised. \u003c/em>\u003c/p>\n\u003cp>When Shane Zaldivar showed up at the casting call for\u003cem> The Compton’s Cafeteria Riot\u003c/em>, a play presented by the Tenderloin Museum about the 1966 riot between cafeteria customers (trans women, drag queens and LGBTQ community members) and the San Francisco police, the 27-year-old actor had only recently learned about the historic event.\u003c/p>\n\u003cp>“If I had known that story earlier on, been taught it in high school,” Zaldivar recalls wistfully. “This is a group of people, fighting for their rights, as human beings, and they are still doing that fight today.”\u003c/p>\n\u003cp>The riot, which took place a full three years before Stonewall, is the first known instance of militant queer resistance to police harassment in United States history, and in recent years—thanks to a 2005 documentary \u003ca href=\"https://www.kqed.org/arts/11838357/in-66-on-one-hot-august-night-trans-women-fought-for-their-rights\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Screaming Queens\u003c/em>\u003c/a>, and this play, written by Mark Nassar, Collette LeGrande and Donna Personna—this seminal moment in LGBTQ and Bay Area history is finally getting the attention it deserves.\u003c/p>\n\u003cp>\u003cem>The Compton’s Cafeteria Riot\u003c/em>, which ran for just over two months in San Francisco’s New Village Cafe, collapsed the distance between audience and performer, lived history and theatrical retelling. Playgoers sat at the “Compton’s” counter, ate a meal and watched a group of transgender women and drag queens decide they’d withstood enough police harassment and brutality—it was time to fight back. What the audience didn’t see was the months of rehearsals and community workshops that shaped the play—and the deep bonds that formed across generations in the process.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Peek behind the stage curtain into the real-life story of Donna Personna, who reflects back on her memories of Compton’s and translated her own experiences—of violence, marginalization and ultimately, hope—into the role Zaldivar embodied. “She’s lived this experience, she’s my elder,” Zaldivar says. “It’s nice to have someone like that as a friend.” \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"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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"meta": {
"site": "radio",
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"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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},
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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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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"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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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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