Oasis, SF’s Iconic Drag Club, Will Close Down at the End of the Year
The Castro Honored Heklina with Drag, Music and Cackles
D'Arcy Drollinger of SF Oasis is Ready for the Roaring '20s to Begin
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"content": "\u003cp>Oasis, a top destination for drag performances and queer entertainment in San Francisco, will shut its doors for good on Jan. 1, 2026, citing financial strain.\u003c/p>\n\u003cp>Co-founders D’Arcy Drollinger and Heklina opened Oasis on New Year’s Eve in 2014. In an interview, Drollinger, who is San Francisco’s first Drag Laureate, blamed decreased post-pandemic attendance along with rising insurance and security costs for the closure.\u003c/p>\n\u003cp>“Right out of the pandemic, we saw a quick surge where we got excited to go back out, but then little by little people got real used to going back to staying at home and ordering DoorDash and watching TV,” said Drollinger. “And then people started drinking less.”\u003c/p>\n\u003cfigure id=\"attachment_13955737\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-Beyonce%CC%81Fans-JY-050_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bionka Simone performs Beyoncé’s ‘Texas Hold ‘Em’ at Oasis in San Francisco on Saturday, April 6, 2024. The show drew a sold-out crowd of drag fans and members of the Beyhive as an all-Black cast celebrated the release of Beyoncé’s new album, ‘Cowboy Carter.’ \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the club has diehard supporters, with many of its nights well attended, Drollinger said Oasis’ profit margins are so thin that the venue needs to be at 90% capacity every night to be sustainable.\u003c/p>\n\u003cp>“When we weren’t making enough money, I had to start dipping into my retirement,” Drollinger said. “And then when that ran out, I’m like, ‘What am I doing?’ Now I’m in a situation where I can’t float it any longer.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oasis is the only venue of its size in the country created for and by drag artists. Its stage has hosted high-profile acts such as \u003cem>RuPaul’s Drag Race\u003c/em> winners Nymphia Wind and Sasha Colby at its popular Saturday night party, Princess. The nightclub’s competitive events, including the \u003ca href=\"https://www.kqed.org/arts/13970352/high-princx-pageant-drag-competition-san-francisco-2024\">High Princx Pageant\u003c/a> and the San Francisco Drag King Contest, provide a proving ground for new talent. Jane Fonda and Cher have both graced Oasis’ stage, and queer celebrities like Lil Nas X have made appearances at the club.\u003c/p>\n\u003cfigure id=\"attachment_13899491\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger, owner of Oasis nightclub, performs during Princess, a disco dance party and drag show, at Oasis in San Francisco on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to its club nights, Oasis is a destination for queer theater. A show that Drollinger wrote, directed and starred in, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt13023550/\">Shit & Champagne\u003c/a>\u003c/em>, was turned into a feature film. Its current show, a musical parody called \u003cem>Jurrasiq Parq\u003c/em>, received a rave review in the \u003cem>San Francisco Chronicle\u003c/em> for its “electric wit.”\u003c/p>\n\u003cp>“I feel like it is a job that I’m going to probably have to be doing the rest of my life, working to show that drag is a viable art form and is not disposable entertainment,” said Drollinger, noting right-wing political attacks on on drag in recent years. “It does matter and is something to be taken seriously.”\u003c/p>\n\u003cp>“Our show right now has 1,200 cues in it, which is almost twice as many as a Broadway show,” Drollinger added. “There is real art happening.”\u003c/p>\n\u003cp>[aside postID='arts_10134691']Oasis has also provided a platform for advocacy. Over the past decade, the SOMA club gave rise to \u003ca href=\"https://www.kqed.org/arts/13899312/all-black-drag-show-reparations-moves-from-the-internet-to-oasis\">Reparations\u003c/a>, San Francisco’s only all-Black drag revue. Princess host Kochina Rude has used her platform at the club to champion harm reduction and safe drug use, which led to a \u003ca href=\"https://www.kqed.org/arts/13961839/drag-queens-overdose-prevention-narcan-san-francisco\">partnership with the Department of Public Health\u003c/a>.\u003c/p>\n\u003cp>When Heklina, a San Francisco drag icon, died unexpectedly in 2023, Oasis \u003ca href=\"https://www.kqed.org/arts/13927233/heklina-dies-drag-legend-san-francsico\">opened its space for the community to mourn\u003c/a>.\u003c/p>\n\u003cp>Oasis plans to continue its programming with its nonprofit, Oasis Arts, at other venues in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Necessity is the mother of invention, and that’s got me this far,” said Drollinger. “I am trying very hard to be open to the opportunities that arise. I know this is shaking me, and it’s shaking the community.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oasis, a top destination for drag performances and queer entertainment in San Francisco, will shut its doors for good on Jan. 1, 2026, citing financial strain.\u003c/p>\n\u003cp>Co-founders D’Arcy Drollinger and Heklina opened Oasis on New Year’s Eve in 2014. In an interview, Drollinger, who is San Francisco’s first Drag Laureate, blamed decreased post-pandemic attendance along with rising insurance and security costs for the closure.\u003c/p>\n\u003cp>“Right out of the pandemic, we saw a quick surge where we got excited to go back out, but then little by little people got real used to going back to staying at home and ordering DoorDash and watching TV,” said Drollinger. “And then people started drinking less.”\u003c/p>\n\u003cfigure id=\"attachment_13955737\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-Beyonce%CC%81Fans-JY-050_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bionka Simone performs Beyoncé’s ‘Texas Hold ‘Em’ at Oasis in San Francisco on Saturday, April 6, 2024. The show drew a sold-out crowd of drag fans and members of the Beyhive as an all-Black cast celebrated the release of Beyoncé’s new album, ‘Cowboy Carter.’ \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the club has diehard supporters, with many of its nights well attended, Drollinger said Oasis’ profit margins are so thin that the venue needs to be at 90% capacity every night to be sustainable.\u003c/p>\n\u003cp>“When we weren’t making enough money, I had to start dipping into my retirement,” Drollinger said. “And then when that ran out, I’m like, ‘What am I doing?’ Now I’m in a situation where I can’t float it any longer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oasis is the only venue of its size in the country created for and by drag artists. Its stage has hosted high-profile acts such as \u003cem>RuPaul’s Drag Race\u003c/em> winners Nymphia Wind and Sasha Colby at its popular Saturday night party, Princess. The nightclub’s competitive events, including the \u003ca href=\"https://www.kqed.org/arts/13970352/high-princx-pageant-drag-competition-san-francisco-2024\">High Princx Pageant\u003c/a> and the San Francisco Drag King Contest, provide a proving ground for new talent. Jane Fonda and Cher have both graced Oasis’ stage, and queer celebrities like Lil Nas X have made appearances at the club.\u003c/p>\n\u003cfigure id=\"attachment_13899491\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger, owner of Oasis nightclub, performs during Princess, a disco dance party and drag show, at Oasis in San Francisco on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to its club nights, Oasis is a destination for queer theater. A show that Drollinger wrote, directed and starred in, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt13023550/\">Shit & Champagne\u003c/a>\u003c/em>, was turned into a feature film. Its current show, a musical parody called \u003cem>Jurrasiq Parq\u003c/em>, received a rave review in the \u003cem>San Francisco Chronicle\u003c/em> for its “electric wit.”\u003c/p>\n\u003cp>“I feel like it is a job that I’m going to probably have to be doing the rest of my life, working to show that drag is a viable art form and is not disposable entertainment,” said Drollinger, noting right-wing political attacks on on drag in recent years. “It does matter and is something to be taken seriously.”\u003c/p>\n\u003cp>“Our show right now has 1,200 cues in it, which is almost twice as many as a Broadway show,” Drollinger added. “There is real art happening.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Oasis has also provided a platform for advocacy. Over the past decade, the SOMA club gave rise to \u003ca href=\"https://www.kqed.org/arts/13899312/all-black-drag-show-reparations-moves-from-the-internet-to-oasis\">Reparations\u003c/a>, San Francisco’s only all-Black drag revue. Princess host Kochina Rude has used her platform at the club to champion harm reduction and safe drug use, which led to a \u003ca href=\"https://www.kqed.org/arts/13961839/drag-queens-overdose-prevention-narcan-san-francisco\">partnership with the Department of Public Health\u003c/a>.\u003c/p>\n\u003cp>When Heklina, a San Francisco drag icon, died unexpectedly in 2023, Oasis \u003ca href=\"https://www.kqed.org/arts/13927233/heklina-dies-drag-legend-san-francsico\">opened its space for the community to mourn\u003c/a>.\u003c/p>\n\u003cp>Oasis plans to continue its programming with its nonprofit, Oasis Arts, at other venues in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Necessity is the mother of invention, and that’s got me this far,” said Drollinger. “I am trying very hard to be open to the opportunities that arise. I know this is shaking me, and it’s shaking the community.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "heklina-castro-memorial",
"title": "The Castro Honored Heklina with Drag, Music and Cackles",
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"content": "\u003cp>Heklina first arrived in San Francisco in the early ’90s, “with no real plan,” as she put in a \u003ca href=\"https://www.youtube.com/watch?v=61qbUimYg9g&t=823s\">KQED documentary from 2015\u003c/a>. “Immediately, I fell in love with it, and I felt right at home.” [aside postid='arts_13927233']\u003c/p>\n\u003cp>And on Tuesday evening, San Francisco returned that love to Heklina, who helped transform drag and elevate queer nightlife in the Bay Area over the past three decades. Heklina died unexpectedly on April 3 in London, where she had traveled to star in the drag parody \u003ci>Mommie Queerest\u003c/i> at the Soho Theatre alongside her close friend Peaches Christ.\u003c/p>\n\u003cp>Friends of Heklina organized a memorial at the Castro Theatre, its iconic marquee emblazoned with Heklina’s name. Tickets sold out weeks in advance, so organizers closed down the entire block outside the theater, from Market to 18th Street, to bring in jumbotrons that live-streamed the memorial to a crowd of hundreds of well-wishers and admirers.\u003c/p>\n\u003cfigure id=\"attachment_13929606\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929606\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"Two drag artists speak with microphones to a large crowd in front of San Francisco's Castro Theater.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sister Roma (left) and Dulce De Leche (right) speak during a memorial for Heklina outside the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Heklina was not just a talented and versatile performer, she also dedicated herself to making more spaces available for drag in San Francisco. In 1996, she created the long-running show Trannyshack at The Stud (which she later renamed Mother), offering a platform for funny, rebellious and experimental new performers. Heklina also co-founded the popular SoMa club and cabaret Oasis in 2015 alongside D’Arcy Drollinger. Although she sold her ownership stake in 2019, she remained a beloved fixture there. Most recently, she hosted the popular Daytime Realness party at El Rio in the Mission.\u003c/p>\n\u003cfigure id=\"attachment_13929614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929614\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"Two drag performers, dressed up in very colorful wigs and puffy dresses, smile at the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pippi Lovestocking (left) and Mutha Chucka pose for a photo outside the Castro Theatre in San Francisco on May 23, 2023, before a memorial for Heklina, who died in April. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many remember Heklina for her firecracker personality, which she owned in her drag. “I just feel like I’m living a very, perhaps to most people, abnormal life. I make a living doing something that is … not considered normal,” Heklina said in 2015. “When you’re walking down the street in makeup and a dress and high heels and all that stuff, you do get an attitude change. You become much more bold, [because] people yell things at you and you just have to be ready to take everything on.”\u003c/p>\n\u003cfigure id=\"attachment_13929627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929627\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">During a memorial for Heklina, photos of her play onscreen outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the memorial hosted by LOL McFiercen and Dulce De Leche, Heklina’s longtime friend Nancy French took the stage to lead a moment of silence, but quickly changed her mind. “A basic moment of silence is not going to work,” French said. “It’s so basic, she would have hated it.”\u003c/p>\n\u003cp>French asked the crowd to join her in a “community cackle,” referring to Heklina’s loud and distinct laugh. With that, Castro Street filled with hundreds of cackles.\u003c/p>\n\u003cfigure id=\"attachment_13929607\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929607\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A crowd of hundreds, of all ages, stands outside on San Francisco's Castro Street and laughs, many with smiles on their faces. In the background, there are balloons in the shape of the letters that spell out "Heklina."\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hundreds join Heklina’s friend Nancy French in a ‘community cackle’ outside the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jennifer Hofmann, 53, of San Francisco, stood outside the Castro Theatre to pay her respects for Heklina. “[Heklina] helped me grow up to figure out who I was in San Francisco,” she said, noting how meaningful it was for her to see Heklina perform at Trannyshack in the ’90s.\u003c/p>\n\u003cp>“She made it OK that drag wasn’t perfect. She made it OK that you could make ugly drag and people would love that and throw dollars at you, too,” Hoffman said. “As long as you had something to say and were willing to get up on stage and do it, you were always welcome.”\u003c/p>\n\u003cp>“She welcomed everyone,” Hoffman continued. “She sassed everyone. If you got sassed by Heklina, you felt like you’ve made it.”\u003c/p>\n\u003cfigure id=\"attachment_13929611\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A drag performer holds a microphone in one hand, and with the other, holds a marker and draws a beauty mark on the face of a woman standing in the crowd outside the Castro Theater.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Co-host LOL McFiercen paints a beauty mark on Linda Lee’s face in honor of Heklina during a memorial outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darwin Bell, 57, moved to San Francisco in 1987, and Heklina was first drag queen he ever saw perform. “It was very punk rock,” he said of that first show.\u003c/p>\n\u003cp>Heklina embraced more transgressive forms of drag, he recalled, adding that he hopes that San Francisco doesn’t lose that edge without her around. Bell and his friends went to so many shows featuring or organized by Heklina that they would joke among themselves, “At the end of the world, there’s going to be Cher, roaches and Heklina.”\u003c/p>\n\u003cp>“I never even thought there would be world without Heklina,” he said. “She was always kind of bitter and funny and mean, and I just never thought there would be a world without her.”\u003c/p>\n\u003cfigure id=\"attachment_13929613\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929613\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A large crowd stands on Castro Street in front of Castro Theater, and in the middle of the crowed, a young couple hugs and kisses.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Despite the strong winds, a crowd of hundreds gathers outside of the Castro Theatre to watch drag performances in honor of Heklina. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside, the Castro Theatre’s 1,407 seats filled up. Close friends of Heklina, including D’Arcy Drollinger and Peaches Christ, took the stage to share some of their fondest memories — infused with Heklina’s relentless humor and love for San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13929618\" class=\"wp-caption aligncenter\" style=\"max-width: 2392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2.jpg\" alt=\"Three drag artists stand on a stage. All are wearing very elaborate dresses and big wigs.\" width=\"2392\" height=\"1594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2.jpg 2392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1920x1279.jpg 1920w\" sizes=\"(max-width: 2392px) 100vw, 2392px\">\u003cfigcaption class=\"wp-caption-text\">Dozens of Heklina’s closest friends and collaborators spoke and performed inside the Castro Theatre, including D’Arcy Drollinger, Sister Roma and Peaches Christ (left to right). \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13929617\" class=\"wp-caption aligncenter\" style=\"max-width: 2446px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929617\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Fauxique-1.jpg\" alt='A large group of drag performers dance and sing on a stage. In the middle of them is a drag queen with a very large wig and a ribbon that reads \"Fauxnique.\"' width=\"2446\" height=\"1631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1.jpg 2446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2446px) 100vw, 2446px\">\u003cfigcaption class=\"wp-caption-text\">During her performance, Fauxnique brought out many other drag performers who collaborated with Heklina. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the memorial, Margey DeCuir, a San Francisco resident who watched the livestream on Castro Street, wrote to KQED to share that for her, Heklina’s memorial not only honored her life, but represented “the strength and loyalty of the queer community, to come and gather in grief.”\u003c/p>\n\u003cp>“Heklina touched lives globally,” she wrote, “and her memorial was a much needed embrace within the community.”\u003c/p>\n\u003cfigure id=\"attachment_13929605\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929605\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023.jpg\" alt=\"Two people share a deep hug and smile while they stand outdoors in San Francisco's Castro Street, surrounded by a large crowd.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Tom hugs friend Margey DeCuir (left) during a memorial for Heklina outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This article includes reporting from KQED’s \u003ca href=\"https://www.kqed.org/author/nvoynovskaya\">Nastia Voynovskaya\u003c/a>.\u003c/em>\u003cbr>\n[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Hundreds spilled out of the sold-out Castro Theatre for a street party in homage to the beloved drag queen.",
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"title": "The Castro Honored Heklina with Drag, Music and Cackles | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Heklina first arrived in San Francisco in the early ’90s, “with no real plan,” as she put in a \u003ca href=\"https://www.youtube.com/watch?v=61qbUimYg9g&t=823s\">KQED documentary from 2015\u003c/a>. “Immediately, I fell in love with it, and I felt right at home.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And on Tuesday evening, San Francisco returned that love to Heklina, who helped transform drag and elevate queer nightlife in the Bay Area over the past three decades. Heklina died unexpectedly on April 3 in London, where she had traveled to star in the drag parody \u003ci>Mommie Queerest\u003c/i> at the Soho Theatre alongside her close friend Peaches Christ.\u003c/p>\n\u003cp>Friends of Heklina organized a memorial at the Castro Theatre, its iconic marquee emblazoned with Heklina’s name. Tickets sold out weeks in advance, so organizers closed down the entire block outside the theater, from Market to 18th Street, to bring in jumbotrons that live-streamed the memorial to a crowd of hundreds of well-wishers and admirers.\u003c/p>\n\u003cfigure id=\"attachment_13929606\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929606\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"Two drag artists speak with microphones to a large crowd in front of San Francisco's Castro Theater.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sister Roma (left) and Dulce De Leche (right) speak during a memorial for Heklina outside the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Heklina was not just a talented and versatile performer, she also dedicated herself to making more spaces available for drag in San Francisco. In 1996, she created the long-running show Trannyshack at The Stud (which she later renamed Mother), offering a platform for funny, rebellious and experimental new performers. Heklina also co-founded the popular SoMa club and cabaret Oasis in 2015 alongside D’Arcy Drollinger. Although she sold her ownership stake in 2019, she remained a beloved fixture there. Most recently, she hosted the popular Daytime Realness party at El Rio in the Mission.\u003c/p>\n\u003cfigure id=\"attachment_13929614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929614\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"Two drag performers, dressed up in very colorful wigs and puffy dresses, smile at the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pippi Lovestocking (left) and Mutha Chucka pose for a photo outside the Castro Theatre in San Francisco on May 23, 2023, before a memorial for Heklina, who died in April. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many remember Heklina for her firecracker personality, which she owned in her drag. “I just feel like I’m living a very, perhaps to most people, abnormal life. I make a living doing something that is … not considered normal,” Heklina said in 2015. “When you’re walking down the street in makeup and a dress and high heels and all that stuff, you do get an attitude change. You become much more bold, [because] people yell things at you and you just have to be ready to take everything on.”\u003c/p>\n\u003cfigure id=\"attachment_13929627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929627\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">During a memorial for Heklina, photos of her play onscreen outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the memorial hosted by LOL McFiercen and Dulce De Leche, Heklina’s longtime friend Nancy French took the stage to lead a moment of silence, but quickly changed her mind. “A basic moment of silence is not going to work,” French said. “It’s so basic, she would have hated it.”\u003c/p>\n\u003cp>French asked the crowd to join her in a “community cackle,” referring to Heklina’s loud and distinct laugh. With that, Castro Street filled with hundreds of cackles.\u003c/p>\n\u003cfigure id=\"attachment_13929607\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929607\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A crowd of hundreds, of all ages, stands outside on San Francisco's Castro Street and laughs, many with smiles on their faces. In the background, there are balloons in the shape of the letters that spell out "Heklina."\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hundreds join Heklina’s friend Nancy French in a ‘community cackle’ outside the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jennifer Hofmann, 53, of San Francisco, stood outside the Castro Theatre to pay her respects for Heklina. “[Heklina] helped me grow up to figure out who I was in San Francisco,” she said, noting how meaningful it was for her to see Heklina perform at Trannyshack in the ’90s.\u003c/p>\n\u003cp>“She made it OK that drag wasn’t perfect. She made it OK that you could make ugly drag and people would love that and throw dollars at you, too,” Hoffman said. “As long as you had something to say and were willing to get up on stage and do it, you were always welcome.”\u003c/p>\n\u003cp>“She welcomed everyone,” Hoffman continued. “She sassed everyone. If you got sassed by Heklina, you felt like you’ve made it.”\u003c/p>\n\u003cfigure id=\"attachment_13929611\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A drag performer holds a microphone in one hand, and with the other, holds a marker and draws a beauty mark on the face of a woman standing in the crowd outside the Castro Theater.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Co-host LOL McFiercen paints a beauty mark on Linda Lee’s face in honor of Heklina during a memorial outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darwin Bell, 57, moved to San Francisco in 1987, and Heklina was first drag queen he ever saw perform. “It was very punk rock,” he said of that first show.\u003c/p>\n\u003cp>Heklina embraced more transgressive forms of drag, he recalled, adding that he hopes that San Francisco doesn’t lose that edge without her around. Bell and his friends went to so many shows featuring or organized by Heklina that they would joke among themselves, “At the end of the world, there’s going to be Cher, roaches and Heklina.”\u003c/p>\n\u003cp>“I never even thought there would be world without Heklina,” he said. “She was always kind of bitter and funny and mean, and I just never thought there would be a world without her.”\u003c/p>\n\u003cfigure id=\"attachment_13929613\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929613\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A large crowd stands on Castro Street in front of Castro Theater, and in the middle of the crowed, a young couple hugs and kisses.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Despite the strong winds, a crowd of hundreds gathers outside of the Castro Theatre to watch drag performances in honor of Heklina. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside, the Castro Theatre’s 1,407 seats filled up. Close friends of Heklina, including D’Arcy Drollinger and Peaches Christ, took the stage to share some of their fondest memories — infused with Heklina’s relentless humor and love for San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13929618\" class=\"wp-caption aligncenter\" style=\"max-width: 2392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2.jpg\" alt=\"Three drag artists stand on a stage. All are wearing very elaborate dresses and big wigs.\" width=\"2392\" height=\"1594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2.jpg 2392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1920x1279.jpg 1920w\" sizes=\"(max-width: 2392px) 100vw, 2392px\">\u003cfigcaption class=\"wp-caption-text\">Dozens of Heklina’s closest friends and collaborators spoke and performed inside the Castro Theatre, including D’Arcy Drollinger, Sister Roma and Peaches Christ (left to right). \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13929617\" class=\"wp-caption aligncenter\" style=\"max-width: 2446px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929617\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Fauxique-1.jpg\" alt='A large group of drag performers dance and sing on a stage. In the middle of them is a drag queen with a very large wig and a ribbon that reads \"Fauxnique.\"' width=\"2446\" height=\"1631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1.jpg 2446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2446px) 100vw, 2446px\">\u003cfigcaption class=\"wp-caption-text\">During her performance, Fauxnique brought out many other drag performers who collaborated with Heklina. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the memorial, Margey DeCuir, a San Francisco resident who watched the livestream on Castro Street, wrote to KQED to share that for her, Heklina’s memorial not only honored her life, but represented “the strength and loyalty of the queer community, to come and gather in grief.”\u003c/p>\n\u003cp>“Heklina touched lives globally,” she wrote, “and her memorial was a much needed embrace within the community.”\u003c/p>\n\u003cfigure id=\"attachment_13929605\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929605\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023.jpg\" alt=\"Two people share a deep hug and smile while they stand outdoors in San Francisco's Castro Street, surrounded by a large crowd.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Tom hugs friend Margey DeCuir (left) during a memorial for Heklina outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This article includes reporting from KQED’s \u003ca href=\"https://www.kqed.org/author/nvoynovskaya\">Nastia Voynovskaya\u003c/a>.\u003c/em>\u003cbr>\n\u003c/p>\u003c/div>",
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"slug": "darcy-drollinger-of-sf-oasis-is-ready-for-the-roaring-20s-to-begin",
"title": "D'Arcy Drollinger of SF Oasis is Ready for the Roaring '20s to Begin",
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"content": "\u003cp>When I Zoom into D’Arcy Drollinger’s world, an audible sound check drifts in from the next room, folks wander in and out of the frame to ask logistical questions, and Drollinger himself looks like he’s been awake for days, though his disposition is sunny and enthusiastic. After a year and a half of the pandemic—the last seven months of which his queer nightlife hub \u003ca href=\"https://www.sfoasis.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Oasis\u003c/a> has been completely closed—the grand reopening of Oasis, scheduled for Pride weekend, is finally just around the corner.\u003c/p>\n\u003cp>Opening with the Drag Disco party Princess feels especially meaningful, as it was formerly a staple of the Stud collective at their former Ninth St. digs, which shuttered just over a year ago. With the Stud collective still venue-less, it’s a symbolic melding of two beloved nightlife staples to usher in a new era of what Drollinger is calling “Oasis 2.0.” After a pandemic-induced realization that Oasis’ past programming (and ticket prices) might have attracted a somewhat insular group of regulars, Drollinger’s new vision includes more accessible pricing structures, a wider range of parties and producers, and the idea that Oasis could be—should be—a “clubhouse” for all.\u003c/p>\n\u003cp>“I feel a responsibility,” he elaborates. “Because we’re coming out of this pandemic where I feel like certain people don’t really have a home… as performers and audience members are gone. And I want to be here for them.”\u003c/p>\n\u003cfigure id=\"attachment_13899061\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-800x536.jpg\" alt=\"\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger living it up at Oasis. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if Oasis’ very existence hadn’t been threatened by the multiple crises that COVID-19 brought to the forefront, it would have been a hectic year for Drollinger. In February of 2020, he assumed full ownership of the business after co-owner Heklina sold back her stake and moved more or less full-time to Palm Springs.\u003c/p>\n\u003cp>The two began working regularly together 10 years ago while Heklina was managing Rebel, a bar on Market Street. Offered a Tuesday night slot, Drollinger decided to put on parodies of \u003cem>Sex in the City\u003c/em>—inspired in part by Heklina’s success with her popular \u003cem>Golden Girls \u003c/em>series. The show was a hit, and gradually Drollinger moved from Tuesdays to weekends, adding new shows to the roster, such as \u003cem>Designing Women\u003c/em> and \u003cem>Friends\u003c/em>, as well as one of her original works—\u003cem>Shit and Champagne\u003c/em>. In 2014, they got word that Rebel was closing for good. And that’s when the idea of co-owning a venue of their own began to take shape. On New Year’s Day, 2015—after months of negotiating for and remodeling the space at 298 11th Street— they opened the doors to the public, and Oasis was born.\u003c/p>\n\u003cfigure id=\"attachment_13899059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13899059 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch.jpg 959w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cindy Goldfield, D’Arcy Drollinger, and Steven LeMay celebrating Drollinger’s birthday on the cabaret stage at Oasis. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A hybrid cabaret, theater, dance club and bar, Oasis is set apart from its fellow gay clubs and spaces partially by an attention to production elements. These include in-house technicians to run the shows, and a sturdy, theater-quality stage that, as Drollinger terms, “elevates” the experience for performers, who may be more accustomed to the glare of bare bulbs and makeshift platforms. While audiences stayed at home this past year, Drollinger added the equipment necessary to stream live performances from the space—a practice he intends to keep once live audiences return. Streaming is partly to keep the “clubhouse” accessible to a larger audience, and partly because Drollinger leaned hard into broadcasting during the shutdown, founding a subscriber-based streaming platform called Oasis TV. In addition to airing archival video of his signature staged parodies, Drollinger tapped a talent pool of local queens to create or guest star in a variety of talk shows, drag shows, makeup shows, cooking shows, and other original content created with a playful, queer emphasis.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I know that there are other gay TV networks like Logo,” Drollinger says about the experiment. “(But) I feel like there isn’t really a drag-centered television network.” By filling that niche, Drollinger hopes that Oasis TV will outlive its pandemic origins and remain a home for the drag community both at home and further afield. “I’d like to expand it into a full network,” he enthuses. “I feel like it’s a great asset and it really does have a lot of possibility.”\u003c/p>\n\u003cp>But despite Drollinger’s creativity in creating platforms and income streams—such as the bespoke drag queen dinner delivery service, \u003ca href=\"https://www.sfoasis.com/meals-on-heels\" rel=\"noopener noreferrer\" target=\"_blank\">Meals on Heels\u003c/a>—Oasis was by no means spared the financial stresses that the pandemic wrought across San Francisco nightlife. Even the unanticipated windfall of their 11th hour telethon in early March, during which they raised over $268,000, has already mostly been spent on debts incurred during the pandemic, and on reopening costs. As Drollinger points out, there are government programs at the federal and the local level designed to help small businesses and entertainment venues to survive, but most of the money earmarked for them has yet to be distributed.\u003c/p>\n\u003cp>[aside postID='arts_13898639']“It’s crazy…we’re going to reopen before we get any money that was supposed to be here to help us get through this,” comments Drollinger. “I know there’s lots of red tape and so many people involved, but I feel like nobody really understands how hand-to-mouth we are in this business.”\u003c/p>\n\u003cp>Financial and operational struggles aside, Drollinger is thrilled to be able to open Oasis to a full capacity Pride crowd this weekend and beyond. Although scrambling to fill the calendar while simultaneously hiring back staff and renovating to reopen has been hectic, Drollinger promises some surprises on the horizon. In the immediate future, Oasis favorite Matthew Martin will star in a new original show penned by Michael Phillis called \u003cem>The Hand That Rocks the Crawford\u003c/em>, which reimagines female-led thrillers such as \u003cem>Basic Instinct\u003c/em> and \u003cem>The Hand That Rocks the Cradle\u003c/em> as starring Joan Crawford. Princess will continue weekly, and Drag King revue \u003cem>Dandy\u003c/em> will strut it out on July 3.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All in all, Drollinger is optimistic for the future of Oasis and for nightlife in general. “For the most part I think people—maybe even more so—are going to want to come out, and if history serves us, it’s possibly going to be a roaring ’20s situation,” he remarks. “We’ll see…but everything seems to be pointing to everybody’s sort of desperation to be together again.”\u003c/p>\n\n",
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"title": "D'Arcy Drollinger of SF Oasis is Ready for the Roaring '20s to Begin | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I Zoom into D’Arcy Drollinger’s world, an audible sound check drifts in from the next room, folks wander in and out of the frame to ask logistical questions, and Drollinger himself looks like he’s been awake for days, though his disposition is sunny and enthusiastic. After a year and a half of the pandemic—the last seven months of which his queer nightlife hub \u003ca href=\"https://www.sfoasis.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Oasis\u003c/a> has been completely closed—the grand reopening of Oasis, scheduled for Pride weekend, is finally just around the corner.\u003c/p>\n\u003cp>Opening with the Drag Disco party Princess feels especially meaningful, as it was formerly a staple of the Stud collective at their former Ninth St. digs, which shuttered just over a year ago. With the Stud collective still venue-less, it’s a symbolic melding of two beloved nightlife staples to usher in a new era of what Drollinger is calling “Oasis 2.0.” After a pandemic-induced realization that Oasis’ past programming (and ticket prices) might have attracted a somewhat insular group of regulars, Drollinger’s new vision includes more accessible pricing structures, a wider range of parties and producers, and the idea that Oasis could be—should be—a “clubhouse” for all.\u003c/p>\n\u003cp>“I feel a responsibility,” he elaborates. “Because we’re coming out of this pandemic where I feel like certain people don’t really have a home… as performers and audience members are gone. And I want to be here for them.”\u003c/p>\n\u003cfigure id=\"attachment_13899061\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-800x536.jpg\" alt=\"\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger living it up at Oasis. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if Oasis’ very existence hadn’t been threatened by the multiple crises that COVID-19 brought to the forefront, it would have been a hectic year for Drollinger. In February of 2020, he assumed full ownership of the business after co-owner Heklina sold back her stake and moved more or less full-time to Palm Springs.\u003c/p>\n\u003cp>The two began working regularly together 10 years ago while Heklina was managing Rebel, a bar on Market Street. Offered a Tuesday night slot, Drollinger decided to put on parodies of \u003cem>Sex in the City\u003c/em>—inspired in part by Heklina’s success with her popular \u003cem>Golden Girls \u003c/em>series. The show was a hit, and gradually Drollinger moved from Tuesdays to weekends, adding new shows to the roster, such as \u003cem>Designing Women\u003c/em> and \u003cem>Friends\u003c/em>, as well as one of her original works—\u003cem>Shit and Champagne\u003c/em>. In 2014, they got word that Rebel was closing for good. And that’s when the idea of co-owning a venue of their own began to take shape. On New Year’s Day, 2015—after months of negotiating for and remodeling the space at 298 11th Street— they opened the doors to the public, and Oasis was born.\u003c/p>\n\u003cfigure id=\"attachment_13899059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13899059 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch.jpg 959w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cindy Goldfield, D’Arcy Drollinger, and Steven LeMay celebrating Drollinger’s birthday on the cabaret stage at Oasis. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A hybrid cabaret, theater, dance club and bar, Oasis is set apart from its fellow gay clubs and spaces partially by an attention to production elements. These include in-house technicians to run the shows, and a sturdy, theater-quality stage that, as Drollinger terms, “elevates” the experience for performers, who may be more accustomed to the glare of bare bulbs and makeshift platforms. While audiences stayed at home this past year, Drollinger added the equipment necessary to stream live performances from the space—a practice he intends to keep once live audiences return. Streaming is partly to keep the “clubhouse” accessible to a larger audience, and partly because Drollinger leaned hard into broadcasting during the shutdown, founding a subscriber-based streaming platform called Oasis TV. In addition to airing archival video of his signature staged parodies, Drollinger tapped a talent pool of local queens to create or guest star in a variety of talk shows, drag shows, makeup shows, cooking shows, and other original content created with a playful, queer emphasis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I know that there are other gay TV networks like Logo,” Drollinger says about the experiment. “(But) I feel like there isn’t really a drag-centered television network.” By filling that niche, Drollinger hopes that Oasis TV will outlive its pandemic origins and remain a home for the drag community both at home and further afield. “I’d like to expand it into a full network,” he enthuses. “I feel like it’s a great asset and it really does have a lot of possibility.”\u003c/p>\n\u003cp>But despite Drollinger’s creativity in creating platforms and income streams—such as the bespoke drag queen dinner delivery service, \u003ca href=\"https://www.sfoasis.com/meals-on-heels\" rel=\"noopener noreferrer\" target=\"_blank\">Meals on Heels\u003c/a>—Oasis was by no means spared the financial stresses that the pandemic wrought across San Francisco nightlife. Even the unanticipated windfall of their 11th hour telethon in early March, during which they raised over $268,000, has already mostly been spent on debts incurred during the pandemic, and on reopening costs. As Drollinger points out, there are government programs at the federal and the local level designed to help small businesses and entertainment venues to survive, but most of the money earmarked for them has yet to be distributed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s crazy…we’re going to reopen before we get any money that was supposed to be here to help us get through this,” comments Drollinger. “I know there’s lots of red tape and so many people involved, but I feel like nobody really understands how hand-to-mouth we are in this business.”\u003c/p>\n\u003cp>Financial and operational struggles aside, Drollinger is thrilled to be able to open Oasis to a full capacity Pride crowd this weekend and beyond. Although scrambling to fill the calendar while simultaneously hiring back staff and renovating to reopen has been hectic, Drollinger promises some surprises on the horizon. In the immediate future, Oasis favorite Matthew Martin will star in a new original show penned by Michael Phillis called \u003cem>The Hand That Rocks the Crawford\u003c/em>, which reimagines female-led thrillers such as \u003cem>Basic Instinct\u003c/em> and \u003cem>The Hand That Rocks the Cradle\u003c/em> as starring Joan Crawford. Princess will continue weekly, and Drag King revue \u003cem>Dandy\u003c/em> will strut it out on July 3.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All in all, Drollinger is optimistic for the future of Oasis and for nightlife in general. “For the most part I think people—maybe even more so—are going to want to come out, and if history serves us, it’s possibly going to be a roaring ’20s situation,” he remarks. “We’ll see…but everything seems to be pointing to everybody’s sort of desperation to be together again.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
"link": "https://www.cityarts.net",
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
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},
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"id": "fresh-air",
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"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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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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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. ",
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"order": 15
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},
"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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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"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"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"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",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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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",
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"link": "/radio/program/morning-edition"
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"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",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"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",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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