‘Stop! That! Train!’ Is a Runaway Comedy Juggernaut
The Best Looks at Oaklash, Oakland’s Drag Festival
Drag Story Hour Celebrates 10 Years at San Francisco Public Library
Obsidienne Obsurd’s Otherworldly Drag Touches Down in Oakland for One Night
Drag Artist Hilary Rivers Returns to the Stage After Enduring ICE Detention
Per Sia Is San Francisco’s New Drag Laureate
Filipino and Queer Pride Collide at Kababayan Drag Brunch
Oasis, SF’s Iconic Drag Club, Will Close Down at the End of the Year
In the 1930s, a ‘Most Unusual’ San Francisco Club Became a Haven for Trans Women
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Thinking fast, they sneak their way onto the luxury Glamazonian Express, filled with very rich people and, as announced in the boarding call, “couples who shouldn’t be traveling together.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=cVuaamn_kwc\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>The journey soon turns into an amalgam of \u003cem>Airplane!\u003c/em> — the conductor looks a lot like Leslie “Don’t call me Shirley!” Nielsen, a star of that 1980 classic — and \u003cem>\u003ca href=\"https://www.kqed.org/pop/13994/mean-girls-october-3-filming-secrets\">Mean Girls\u003c/a>\u003c/em>, where the three popular hostesses are just like Regina George and her friends. Only their names are Amber, Alli and, in a wonderful spelling gag — Ayshleiygh. Yes, Ayshleiygh.\u003c/p>\n\n\n\n\u003cp>Needless to say, they’re based in first class. Tess and DeeDee take care of the coach passengers, who include a peasant woman washing clothes on a washboard. (Also a nun — a la \u003cem>Airplane!\u003c/em>)\u003c/p>\n\n\n\n\u003cp>The safety announcement is, not surprisingly, a saucy song-and-dance number. One memorable rhyme combines “There ain’t no TSA” with “We’re like if Amtrak was gay.” You get the picture.\u003c/p>\n\n\n\n\u003cp>But what of the Stormaganza? Well, for that we’re taken to Train Headquarters, where the only person who takes anything seriously is feisty Donna Dusk (Rachel Bloom), who tries to warn that the train must be stopped. 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Train!\u003c/em>, a movie so chock full of gags — the screenplay is by Connor Wright and Christina Friel — that the blooper reel at the end feels slow.\u003c/p>\n\n\n\n\u003cp>But we told you this was a buddy film. There’s usually a moment in buddy films where the friends separate for some reason. And when Tess and DeeDee do, the film becomes something of a dark, somber Ingmar Bergman movie.\u003c/p>\n\n\n\n\u003cp>JK LOL!\u003c/p>\n\n\n\n\u003cp>Of course it doesn’t. The gags never stop. Not every one of them soars, but enough do that you’ll likely just be giggling for 90 minutes.\u003c/p>\n\n\n\n\u003cp>As the president might say, “They fun!”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Stop! That! Train!’ is released nationwide on June 12, 2026.\u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>That’s the slogan that got President Judy Gagwell — aka RuPaul — elected, and if it puts a smile on your face, it’s a good sign that lots of other, er, gags from Gagwell and others in \u003cem>Stop! That! Train!\u003c/em>, a delightfully absurd \u003ca href=\"https://www.kqed.org/arts/13879441/lockdown-movie-musts-1970s-disaster-debacles\">disaster-flick\u003c/a> spoof with a wildly impressive joke-per-minute ratio, will be up your alley, too.\u003c/p>\n",
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"innerHTML": "\n\u003cp>But what of the Stormaganza? Well, for that we’re taken to Train Headquarters, where the only person who takes anything seriously is feisty Donna Dusk (Rachel Bloom), who tries to warn that the train must be stopped. For one thing, it’s on track to crash in an area that contains — bear with us here — a nuclear plant, a hotel for dogs, and “the home of beloved actress \u003ca href=\"https://www.npr.org/2026/05/30/nx-s1-5627129/laurie-metcalf-discusses-her-tony-nominated-role-in-revival-of-death-of-a-salesman\">Laurie Metcalf\u003c/a>.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Which, in a few letters, perfectly captures \u003cem>Stop! That! Train!\u003c/em>, a movie so chock full of gags — the screenplay is by Connor Wright and Christina Friel — that the blooper reel at the end feels slow.\u003c/p>\n",
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"content": "\u003cp>Over the past nine years, \u003ca href=\"https://www.oaklash.com/\">Oaklash\u003c/a> has grown from a humble, grassroots block party to a full-scale \u003ca href=\"https://www.kqed.org/pop/tag/drag\">drag\u003c/a> festival — not to mention an arts incubator that has put on some \u003ca href=\"https://www.kqed.org/arts/13984104/last-seven-days-obsidienne-obsurd-oaklash-oakland\">truly mind-melting performances\u003c/a>.\u003c/p>\n\u003cp>On Saturday, May 16, hundreds of drag fans gathered in Old Oakland to watch dozens of performers on multiple stages. There were soul-stirring lip syncs, flawless fashion reveals, gravity-defying dance moves and lots of dollar bills flying through the air.\u003c/p>\n\u003cp>Local drag queens, kings and genderless entities frolicked alongside artists who flew in from all over the country, including \u003cem>RuPaul’s Drag Race\u003c/em> star Aja, who headlined along with \u003cem>King of Drag\u003c/em>’s King Molasses. KQED roamed the streets, documenting the most creative looks we could find.\u003c/p>\n\u003cfigure id=\"attachment_13989771\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-03-KQED.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13989771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-03-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-03-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-03-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-03-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">“The inspiration was if Lil Uzi Vert was a highland cow,” said Tokyn 666. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989797\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989797\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-40-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-40-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-40-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-40-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-40-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tokyn 666 stands in the crowd during the Oaklash Block Party in Oakland on Saturday, May 16, 2026. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989802\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-47-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-47-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-47-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-47-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-47-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Luismi Munster poses for a portrait during the Oaklash Block Party. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989801\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989801\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-46-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-46-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-46-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-46-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-46-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">“What inspired my look was very zebra, but also zebra with a fire, but it’s still being fierce throughout the fire,” Luismi Munster said. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989800\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-44-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-44-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-44-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-44-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-44-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aja of ‘RuPaul’s Drag Race’ performs during the Oaklash Block Party. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989799\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-43-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-43-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-43-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-43-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-43-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bre’nae Bullocks-Benard, 21, and Zachary Lipsett, 20, cheer as Aja performs. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989798\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-41-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-41-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-41-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-41-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-41-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People cheer in the crowd while waiting for the next performer. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989796\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989796\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-39-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-39-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-39-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-39-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-39-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People dance in the crowd during the Oaklash Block Party. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989795\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-38-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-38-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-38-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-38-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-38-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aurris Garçon takes tip money from the crowd as she performs her set. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989794\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989794\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-37-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-37-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-37-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-37-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-37-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zachary Lipsett, 20, claps as drag quen Empress Astara does a flip during their performance. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989791\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-30-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-30-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-30-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-30-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-30-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Evian, aka Lashley, poses for a portrait during the Oaklash Block Party. Evian is one of Oaklash’s artists in residence, and produced large-scale art installations for the festival. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989790\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989790\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-28-KQED.jpg\" alt=\"\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-28-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-28-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-28-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-28-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Pei Pei Ma’Bilz stands for a portrait during the Oaklash Block Party. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989789\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989789\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-27-KQED.jpg\" alt=\"\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-27-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-27-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-27-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-27-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">“I was going for business because Pei Pei, she means business but also she likes to clown,” Pei Pei Ma’Bilz said. “She just got plastic surgery, she’s still recovering.” \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989786\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989786\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-23-KQED.jpg\" alt=\"\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-23-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-23-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-23-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-23-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Cake Bitch poses for a portrait during the Oaklash Block Party . \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989785\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989785\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-21-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-21-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-21-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-21-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-21-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">“I recently made a troll porn with one of my best friends that’s in a couple local film festivals,” said Cake Bitch. “I’m a crazy troll collector. I have over 300 trolls and so does my bestie.” \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989787\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-24-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-24-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-24-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-24-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-24-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cake Bitch poses for a portrait. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989784\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-20-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-20-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-20-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-20-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-20-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Henlo Bullfrog at the Oaklash Block Party. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989783\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989783\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-19-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">“This was very much, like, ‘corpse being reclaimed by nature,’” said Henlo Bullfrog. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989781\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989781\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-17-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raya Light poses at the Oaklash Block Party. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989780\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-16-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-16-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">“I’m an all-American whore,” Raya Light said. “Can you say that on KQED?” \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989777\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989777\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-13-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-13-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-13-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jupiter poses for a portrait. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989776\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989776\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-12-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-12-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jupiter has been doing drag since 1976: “You remember the ancestors and also do what’s up and coming and beyond.” \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989775\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989775\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-09-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-09-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">“I very much enjoy sci-fi. I’m very anti-AI, but I’m a very pro—body modification in the sense of supporting my trans family,” Mylique E. Fawcett said. “Humans have been into body mods since the beginning of time, it’s nothing new. So I just wanted to show my support in a different way.” \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989773\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-06-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-06-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">“This outfit was inspired by Rosalía at the BRIT Awards ceremony,” said Mudd the Two Spirit. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Drag queens, kings and genderless entities showed out in eye-popping outfits. ",
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"title": "The Best Looks at Oaklash, Oakland’s Drag Festival | KQED",
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"headline": "The Best Looks at Oaklash, Oakland’s Drag Festival",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past nine years, \u003ca href=\"https://www.oaklash.com/\">Oaklash\u003c/a> has grown from a humble, grassroots block party to a full-scale \u003ca href=\"https://www.kqed.org/pop/tag/drag\">drag\u003c/a> festival — not to mention an arts incubator that has put on some \u003ca href=\"https://www.kqed.org/arts/13984104/last-seven-days-obsidienne-obsurd-oaklash-oakland\">truly mind-melting performances\u003c/a>.\u003c/p>\n\u003cp>On Saturday, May 16, hundreds of drag fans gathered in Old Oakland to watch dozens of performers on multiple stages. There were soul-stirring lip syncs, flawless fashion reveals, gravity-defying dance moves and lots of dollar bills flying through the air.\u003c/p>\n\u003cp>Local drag queens, kings and genderless entities frolicked alongside artists who flew in from all over the country, including \u003cem>RuPaul’s Drag Race\u003c/em> star Aja, who headlined along with \u003cem>King of Drag\u003c/em>’s King Molasses. KQED roamed the streets, documenting the most creative looks we could find.\u003c/p>\n\u003cfigure id=\"attachment_13989771\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-03-KQED.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13989771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-03-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-03-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-03-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-03-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">“The inspiration was if Lil Uzi Vert was a highland cow,” said Tokyn 666. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989797\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989797\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-40-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-40-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-40-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-40-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-40-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tokyn 666 stands in the crowd during the Oaklash Block Party in Oakland on Saturday, May 16, 2026. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989802\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-47-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-47-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-47-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-47-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-47-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Luismi Munster poses for a portrait during the Oaklash Block Party. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989801\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989801\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-46-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-46-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-46-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-46-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-46-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">“What inspired my look was very zebra, but also zebra with a fire, but it’s still being fierce throughout the fire,” Luismi Munster said. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989800\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-44-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-44-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-44-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-44-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-44-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aja of ‘RuPaul’s Drag Race’ performs during the Oaklash Block Party. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989799\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-43-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-43-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-43-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-43-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-43-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bre’nae Bullocks-Benard, 21, and Zachary Lipsett, 20, cheer as Aja performs. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989798\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-41-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-41-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-41-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-41-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-41-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People cheer in the crowd while waiting for the next performer. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989796\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989796\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-39-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-39-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-39-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-39-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-39-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People dance in the crowd during the Oaklash Block Party. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989795\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-38-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-38-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-38-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-38-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-38-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aurris Garçon takes tip money from the crowd as she performs her set. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989794\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989794\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-37-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-37-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-37-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-37-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-37-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zachary Lipsett, 20, claps as drag quen Empress Astara does a flip during their performance. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989791\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-30-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-30-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-30-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-30-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-30-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Evian, aka Lashley, poses for a portrait during the Oaklash Block Party. Evian is one of Oaklash’s artists in residence, and produced large-scale art installations for the festival. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989790\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989790\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-28-KQED.jpg\" alt=\"\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-28-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-28-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-28-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-28-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Pei Pei Ma’Bilz stands for a portrait during the Oaklash Block Party. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989789\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989789\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-27-KQED.jpg\" alt=\"\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-27-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-27-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-27-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-27-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">“I was going for business because Pei Pei, she means business but also she likes to clown,” Pei Pei Ma’Bilz said. “She just got plastic surgery, she’s still recovering.” \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989786\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989786\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-23-KQED.jpg\" alt=\"\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-23-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-23-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-23-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-23-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Cake Bitch poses for a portrait during the Oaklash Block Party . \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989785\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989785\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-21-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-21-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-21-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-21-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-21-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">“I recently made a troll porn with one of my best friends that’s in a couple local film festivals,” said Cake Bitch. “I’m a crazy troll collector. I have over 300 trolls and so does my bestie.” \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989787\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-24-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-24-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-24-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-24-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-24-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cake Bitch poses for a portrait. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989784\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-20-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-20-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-20-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-20-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-20-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Henlo Bullfrog at the Oaklash Block Party. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989783\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989783\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-19-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">“This was very much, like, ‘corpse being reclaimed by nature,’” said Henlo Bullfrog. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989781\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989781\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-17-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raya Light poses at the Oaklash Block Party. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989780\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-16-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-16-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">“I’m an all-American whore,” Raya Light said. “Can you say that on KQED?” \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989777\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989777\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-13-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-13-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-13-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jupiter poses for a portrait. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989776\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989776\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-12-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-12-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jupiter has been doing drag since 1976: “You remember the ancestors and also do what’s up and coming and beyond.” \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989775\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989775\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-09-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-09-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">“I very much enjoy sci-fi. I’m very anti-AI, but I’m a very pro—body modification in the sense of supporting my trans family,” Mylique E. Fawcett said. “Humans have been into body mods since the beginning of time, it’s nothing new. So I just wanted to show my support in a different way.” \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13989773\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-06-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260516-OAKLASH-JY-06-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">“This outfit was inspired by Rosalía at the BRIT Awards ceremony,” said Mudd the Two Spirit. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "drag-story-hour-celebrates-10-years-at-san-francisco-public-library",
"title": "Drag Story Hour Celebrates 10 Years at San Francisco Public Library",
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"content": "\u003cp>It’s time to break out the glitter and grab your favorite picture book — Dec. 12 is now officially \u003ca href=\"https://www.dragstoryhour.org/\">Drag Story Hour\u003c/a> Day in San Francisco. Earlier this week, the San Francisco Board of Supervisors passed a resolution to recognize the literacy program, which started 10 years ago at the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-public-library\">San Francisco Public Library\u003c/a> (SFPL).\u003c/p>\n\u003cp>“Drag Story Hour creates space for queer role models in children’s stories and teaches kids that authenticity and individuality should be celebrated,” said Supervisor Rafael Mandelman at the Dec. 9 meeting. [aside postid='arts_13984523']\u003c/p>\n\u003cp>Founded by author Michelle Tea and Radar Productions, with support from fellow writers Julián Delgado Lopera and Virgie Tovar, Drag Story Hour invites drag performers to read to children at libraries, bookstores and schools around the world. San Francisco’s Per Sia read at the first-ever Drag Story Hour at Harvey Milk Memorial branch of the SFPL in 2015. Since then, the program has expanded to 30 chapters around the U.S. as well as Japan, Mexico and several other countries.\u003c/p>\n\u003cp>On Dec. 14, SFPL will celebrate Drag Story Hour at its main branch with a family-friendly day of festivities and readings with drag queens, kings and royals, including Per Sia. An after-school arts educator by day, Per Sia was recently \u003ca href=\"https://www.kqed.org/arts/13983135/per-sia-san-francisco-new-drag-laureate\">named San Francisco Drag Laureate\u003c/a>.\u003c/p>\n\u003cp>“A lot of amazing queer things have come out of San Francisco, Drag Story Hour being one of them,” Per Sia told KQED in October.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Drag Story Hour’s success has come in spite of right wing attacks, including from Proud Boys, who stormed a 2022 Drag Story Hour at the San Lorenzo Public Library and shouted slurs at performer Panda Dulce. (Dulce has since told her story in a \u003ca href=\"https://www.kqed.org/news/12046470/her-drag-story-hour-was-interrupted-by-the-proud-boys-no-one-was-held-accountable\">short film about the aftermath of the ordeal\u003c/a>.) Amid a rise in anti-LGBTQ+ legislation, Montana and Tennessee passed bills to ban drag performances in front of children, but legal challenges have blocked the laws’ enforcement.\u003c/p>\n\u003cp>“It’s still so important to not just highlight the program because, you know, literacy, children,” Per Sia said, “but also highlight queer joy and all the things that people say are wrong with us, which are not [wrong].”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sfpl.org/releases/2025/12/05/drag-story-hour-celebrates-10-years-stories-glitter-and-community\">Drag Story Hour celebrates 10 years\u003c/a> at San Francisco Public Library on Dec. 14, 12–5 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time to break out the glitter and grab your favorite picture book — Dec. 12 is now officially \u003ca href=\"https://www.dragstoryhour.org/\">Drag Story Hour\u003c/a> Day in San Francisco. Earlier this week, the San Francisco Board of Supervisors passed a resolution to recognize the literacy program, which started 10 years ago at the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-public-library\">San Francisco Public Library\u003c/a> (SFPL).\u003c/p>\n\u003cp>“Drag Story Hour creates space for queer role models in children’s stories and teaches kids that authenticity and individuality should be celebrated,” said Supervisor Rafael Mandelman at the Dec. 9 meeting. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Founded by author Michelle Tea and Radar Productions, with support from fellow writers Julián Delgado Lopera and Virgie Tovar, Drag Story Hour invites drag performers to read to children at libraries, bookstores and schools around the world. San Francisco’s Per Sia read at the first-ever Drag Story Hour at Harvey Milk Memorial branch of the SFPL in 2015. Since then, the program has expanded to 30 chapters around the U.S. as well as Japan, Mexico and several other countries.\u003c/p>\n\u003cp>On Dec. 14, SFPL will celebrate Drag Story Hour at its main branch with a family-friendly day of festivities and readings with drag queens, kings and royals, including Per Sia. An after-school arts educator by day, Per Sia was recently \u003ca href=\"https://www.kqed.org/arts/13983135/per-sia-san-francisco-new-drag-laureate\">named San Francisco Drag Laureate\u003c/a>.\u003c/p>\n\u003cp>“A lot of amazing queer things have come out of San Francisco, Drag Story Hour being one of them,” Per Sia told KQED in October.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Drag Story Hour’s success has come in spite of right wing attacks, including from Proud Boys, who stormed a 2022 Drag Story Hour at the San Lorenzo Public Library and shouted slurs at performer Panda Dulce. (Dulce has since told her story in a \u003ca href=\"https://www.kqed.org/news/12046470/her-drag-story-hour-was-interrupted-by-the-proud-boys-no-one-was-held-accountable\">short film about the aftermath of the ordeal\u003c/a>.) Amid a rise in anti-LGBTQ+ legislation, Montana and Tennessee passed bills to ban drag performances in front of children, but legal challenges have blocked the laws’ enforcement.\u003c/p>\n\u003cp>“It’s still so important to not just highlight the program because, you know, literacy, children,” Per Sia said, “but also highlight queer joy and all the things that people say are wrong with us, which are not [wrong].”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sfpl.org/releases/2025/12/05/drag-story-hour-celebrates-10-years-stories-glitter-and-community\">Drag Story Hour celebrates 10 years\u003c/a> at San Francisco Public Library on Dec. 14, 12–5 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Imagine a high-fashion circus inside a galactic wormhole and you have a sense of \u003ca href=\"https://www.instagram.com/0b.w0rld/?hl=en\">Obsidienne Obsurd\u003c/a>’s drag style. The artist is otherworldly, meticulous and unafraid to go \u003cem>all\u003c/em> the way, even when it comes to exposing their most tender vulnerabilities or risking making a fool of themself.\u003c/p>\n\u003cp>On Dec. 5, Obsidienne will bring their most ambitious work yet to the 110-year-old Calvin Simmons Theatre inside Oakland’s Henry J. Kaiser Center for the Arts, \u003cem>\u003ca href=\"https://www.gofevo.com/event/Oaklash2\">The Last 7 Days of Obsidienne Obsurd\u003c/a>\u003c/em>. Produced by Oaklash, it’s a one-night-only production that combines lip syncing, theater and chamber music, including a newly commissioned piece by Paul Wiancko of \u003ca href=\"https://www.kqed.org/arts/tag/kronos-quartet\">Kronos Quartet\u003c/a>, which Obsidienne will perform on viola alongside their classical musician parents, Debra Fong and Christopher Constanza.\u003c/p>\n\u003cp>Elaborate costuming and surrealist stagecraft come together to tell Obsidienne’s story of accepting their trans identity, their struggles with mental illness and family secrets that have been kept in silence for generations.\u003c/p>\n\u003cp>“It’s a story of meandering, being lost, being found,” Obsidienne tells KQED during a recent interview. “Part of finding the self is reckoning with the ugly parts and turning that into something beautiful. Because you can’t take it away, you just have to accept it.”\u003c/p>\n\u003cfigure id=\"attachment_13984107\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984107\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-scaled.jpg\" alt='A drag artist plays a viola inside a bar with neon text behind them that says \"Hella Fine.\"' width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Obsidienne Obsurd performs at Oaklash 2025. \u003ccite>(Ian Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raised in the South Bay by a Chinese American violinist mother and Italian American cellist father, Obsidienne is a classically trained violist who performs with orchestras and ensembles across California. They first tried drag during the pandemic, when the art form went digital. Collectives like Media Meltdown were producing livestreamed shows that challenged performers to become video editors and special effects experts. Obsidienne was hooked after Media Meltdown invited them to perform in a Keanu Reeves-themed show, and soon they were driving to obscure locations with their COVID pod to film elaborate numbers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Everyone who was watching me was like, ‘Oh you’re weird. You’re a weirdo. We like it,’” Obsidienne says. “And that was really cool.”\u003c/p>\n\u003cp>Before long, Obsidienne honed their signature style of warped, black-and-white makeup; hand-sewn costumes that turned their body into horned and tentacled shapes; performance art-y choreo that sometimes includes hyperventilation and intense eye contact; and song selections that go far outside of the pop-diva canon. [aside postid='arts_13983871']\u003c/p>\n\u003cp>It flies in the face of long-held stereotypes about what drag can be. A lot of audiences “think that if you are not a cis boy, you should not be doing drag,” Obsidienne says.\u003c/p>\n\u003cp>Obsidienne gives themself permission to embrace being different, and invites audiences to do the same. Recently in West Hollywood’s Abbey, the gay bar that inspired Chappell Roan’s smash hit “Pink Pony Club,” instead of picking something by, say, Sabrina Carpenter or Lady Gaga, Obsidienne lip synced a song by 78-year-old avant-garde musician Laurie Anderson.\u003c/p>\n\u003cp>“I’m going to make you see me, so there’s this sort of delusion that turns into sincerity,” Obsidienne says. “The suspension of disbelief. I try to project a very confident persona that is a projection of all the things in me that scare me about myself, basically.”\u003c/p>\n\u003cfigure id=\"attachment_13984109\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra.png\" alt=\"A drag artist in an orange and red feathery outfit poses with another drag artist wearing black-and-white abstract designs. \" width=\"1200\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra-768x511.png 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Oaklash co-founder Mama Celeste with Obsidienne Obsurd. \u003ccite>(Dominic Saavedra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Obsidienne has found a supportive home at \u003ca href=\"https://www.kqed.org/arts/tag/oaklash\">Oaklash\u003c/a>, a drag platform that loudly and proudly champions gender diversity, accessibility and racial justice. Each May, Oaklash produces a festival with multiple stages and over 60 local and touring performers. And even after all that, co-founder Mama Celeste says \u003cem>The Last 7 Days of Obsidienne Obsurd\u003c/em> is their most challenging project yet.\u003c/p>\n\u003cp>“It’s going to be silly and macabre and loud and colorful and bigger than you can even imagine,” she wrote in a recent email blast, inviting Oaklash fans to dress to the nines for the red carpet outside the show. [aside postid='arts_13983135']\u003c/p>\n\u003cp>\u003cem>The Last 7 Days of Obsidienne Obsurd\u003c/em> features local drag luminaries like Lisa Frankenstein, co-host of the popular party Princess at Oasis; Sassi Fran, a dancer, choreographer and member of the all-Filipino drag group FiliPINX; and Obsidienne’s drag children Lola Ren and Cult Baby. Music in the show pulls from a huge variety of references, including David Bowie, contemporary composers Chen Yi and Kaija Saariaho and even the 12th-century composer, mystic and proto-feminist \u003ca href=\"https://www.bpl.org/blogs/post/hildegard-von-bingen/\">Hildegard Von Bingen\u003c/a>.\u003c/p>\n\u003cp>“You can make noise during this performance. You can clap between movements, you don’t have to sit still like a statue,” says Obsidienne. “I think it’s really cool to be able to highlight through this project that classical music is not one thing, it is actually this whole kaleidoscope of things.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.oaklash.com/7days\">The Last 7 Days of Obsidienne Obsurd\u003c/a>’ takes place at Henry J. Kaiser Center for the Arts (10 10th Street, Oakland) on Dec. 5 at 7 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine a high-fashion circus inside a galactic wormhole and you have a sense of \u003ca href=\"https://www.instagram.com/0b.w0rld/?hl=en\">Obsidienne Obsurd\u003c/a>’s drag style. The artist is otherworldly, meticulous and unafraid to go \u003cem>all\u003c/em> the way, even when it comes to exposing their most tender vulnerabilities or risking making a fool of themself.\u003c/p>\n\u003cp>On Dec. 5, Obsidienne will bring their most ambitious work yet to the 110-year-old Calvin Simmons Theatre inside Oakland’s Henry J. Kaiser Center for the Arts, \u003cem>\u003ca href=\"https://www.gofevo.com/event/Oaklash2\">The Last 7 Days of Obsidienne Obsurd\u003c/a>\u003c/em>. Produced by Oaklash, it’s a one-night-only production that combines lip syncing, theater and chamber music, including a newly commissioned piece by Paul Wiancko of \u003ca href=\"https://www.kqed.org/arts/tag/kronos-quartet\">Kronos Quartet\u003c/a>, which Obsidienne will perform on viola alongside their classical musician parents, Debra Fong and Christopher Constanza.\u003c/p>\n\u003cp>Elaborate costuming and surrealist stagecraft come together to tell Obsidienne’s story of accepting their trans identity, their struggles with mental illness and family secrets that have been kept in silence for generations.\u003c/p>\n\u003cp>“It’s a story of meandering, being lost, being found,” Obsidienne tells KQED during a recent interview. “Part of finding the self is reckoning with the ugly parts and turning that into something beautiful. Because you can’t take it away, you just have to accept it.”\u003c/p>\n\u003cfigure id=\"attachment_13984107\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984107\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-scaled.jpg\" alt='A drag artist plays a viola inside a bar with neon text behind them that says \"Hella Fine.\"' width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Obsidienne Obsurd performs at Oaklash 2025. \u003ccite>(Ian Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raised in the South Bay by a Chinese American violinist mother and Italian American cellist father, Obsidienne is a classically trained violist who performs with orchestras and ensembles across California. They first tried drag during the pandemic, when the art form went digital. Collectives like Media Meltdown were producing livestreamed shows that challenged performers to become video editors and special effects experts. Obsidienne was hooked after Media Meltdown invited them to perform in a Keanu Reeves-themed show, and soon they were driving to obscure locations with their COVID pod to film elaborate numbers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everyone who was watching me was like, ‘Oh you’re weird. You’re a weirdo. We like it,’” Obsidienne says. “And that was really cool.”\u003c/p>\n\u003cp>Before long, Obsidienne honed their signature style of warped, black-and-white makeup; hand-sewn costumes that turned their body into horned and tentacled shapes; performance art-y choreo that sometimes includes hyperventilation and intense eye contact; and song selections that go far outside of the pop-diva canon. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It flies in the face of long-held stereotypes about what drag can be. A lot of audiences “think that if you are not a cis boy, you should not be doing drag,” Obsidienne says.\u003c/p>\n\u003cp>Obsidienne gives themself permission to embrace being different, and invites audiences to do the same. Recently in West Hollywood’s Abbey, the gay bar that inspired Chappell Roan’s smash hit “Pink Pony Club,” instead of picking something by, say, Sabrina Carpenter or Lady Gaga, Obsidienne lip synced a song by 78-year-old avant-garde musician Laurie Anderson.\u003c/p>\n\u003cp>“I’m going to make you see me, so there’s this sort of delusion that turns into sincerity,” Obsidienne says. “The suspension of disbelief. I try to project a very confident persona that is a projection of all the things in me that scare me about myself, basically.”\u003c/p>\n\u003cfigure id=\"attachment_13984109\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra.png\" alt=\"A drag artist in an orange and red feathery outfit poses with another drag artist wearing black-and-white abstract designs. \" width=\"1200\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra-768x511.png 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Oaklash co-founder Mama Celeste with Obsidienne Obsurd. \u003ccite>(Dominic Saavedra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Obsidienne has found a supportive home at \u003ca href=\"https://www.kqed.org/arts/tag/oaklash\">Oaklash\u003c/a>, a drag platform that loudly and proudly champions gender diversity, accessibility and racial justice. Each May, Oaklash produces a festival with multiple stages and over 60 local and touring performers. And even after all that, co-founder Mama Celeste says \u003cem>The Last 7 Days of Obsidienne Obsurd\u003c/em> is their most challenging project yet.\u003c/p>\n\u003cp>“It’s going to be silly and macabre and loud and colorful and bigger than you can even imagine,” she wrote in a recent email blast, inviting Oaklash fans to dress to the nines for the red carpet outside the show. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Last 7 Days of Obsidienne Obsurd\u003c/em> features local drag luminaries like Lisa Frankenstein, co-host of the popular party Princess at Oasis; Sassi Fran, a dancer, choreographer and member of the all-Filipino drag group FiliPINX; and Obsidienne’s drag children Lola Ren and Cult Baby. Music in the show pulls from a huge variety of references, including David Bowie, contemporary composers Chen Yi and Kaija Saariaho and even the 12th-century composer, mystic and proto-feminist \u003ca href=\"https://www.bpl.org/blogs/post/hildegard-von-bingen/\">Hildegard Von Bingen\u003c/a>.\u003c/p>\n\u003cp>“You can make noise during this performance. You can clap between movements, you don’t have to sit still like a statue,” says Obsidienne. “I think it’s really cool to be able to highlight through this project that classical music is not one thing, it is actually this whole kaleidoscope of things.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.oaklash.com/7days\">The Last 7 Days of Obsidienne Obsurd\u003c/a>’ takes place at Henry J. Kaiser Center for the Arts (10 10th Street, Oakland) on Dec. 5 at 7 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.instagram.com/hilary_riversh/\">Hilary Rivers\u003c/a>, a San Francisco drag artist who was \u003ca href=\"https://www.sfchronicle.com/sf/article/drag-performer-detained-ice-20399122.php\">arrested by ICE\u003c/a> during Pride month, makes her return to the stage on \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899?aff=ebdssbcategorybrowse\">Friday, Nov. 7 at Oakland’s White Horse\u003c/a> for a performance that doubles as a fundraiser as she rebuilds her life.\u003c/p>\n\u003cp>Born in El Salvador and raised in Guatemala, Rivers came to San Francisco as an asylum seeker fleeing persecution for her LGBTQ+ identity. The day after she placed second in Miss & Mr. Safe Latino, a long-running pageant presented by Instituto Familiar de la Raza, ICE agents arrested her at a routine immigration appointment.\u003c/p>\n\u003cp>[aside postid='news_12061844']In a recent \u003ca href=\"https://48hills.org/2025/10/drag-queen-snatched-by-ice-released-with-asylum-it-was-terrible/\">interview with \u003cem>El Tecolote\u003c/em> and 48 Hills\u003c/a>, Rivers recounted her harrowing three months in immigration detention at the Golden State Annex detention center in McFarland, California, where she was kept in a freezing cold cell so overcrowded that people had to take turns sitting down. She said she experienced sexual abuse while behind bars, and survived an injury that now requires surgery.\u003c/p>\n\u003cp>Rivers was granted asylum and returned home to San Francisco on Sept. 20. Now, the drag community is rallying around her as she works to bounce back physically, emotionally and financially.\u003c/p>\n\u003cp>“I learned I’d lost almost everything, housing and belongings,” she told \u003cem>El Tecolote\u003c/em> reporter Emma Lorraine Garcia. “Some documents were missing. I’m starting from zero. Physically, I still need surgery on my leg, which got worse during detention. But I’m free, and that gives me strength.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='news_12058784']At White Horse, a nearly 100-year-old queer bar in North Oakland, Rivers will take the stage at a party called \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899?aff=ebdssbcategorybrowse\">Caballo Blanco Against ICE\u003c/a>. Joining her will be drag artists \u003ca href=\"https://www.instagram.com/xochitlqueensf/\">Xochitl\u003c/a> and \u003ca href=\"https://www.instagram.com/la_toritia/#\">Tori Tia\u003c/a>, plus DJ Deft behind the decks.\u003c/p>\n\u003cp>The show is organized by \u003ca href=\"https://www.instagram.com/chillonassf/\">Chillonas\u003c/a>, a queer Latine party in San Francisco that’s been sharing immigration resources and protest information, and \u003ca href=\"https://www.instagram.com/sabesquecollective/#\">Sabes Que\u003c/a>, a Latine and Indigenous queer artist collective.\u003c/p>\n\u003cp>Rivers also has a \u003ca href=\"https://www.gofundme.com/f/help-hilary-rivers-reestablish-her-life-after-ice-detention\">GoFundMe\u003c/a> to cover moving expenses, lost income and basic necessities as she recovers from surgery.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hilary Rivers, Xochitl and Tori Tia perform as part of \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899\">Caballo Blanco Against ICE\u003c/a> on Friday, Nov. 7 at the White Horse (6551 Telegraph Avenue, Oakland). \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/hilary_riversh/\">Hilary Rivers\u003c/a>, a San Francisco drag artist who was \u003ca href=\"https://www.sfchronicle.com/sf/article/drag-performer-detained-ice-20399122.php\">arrested by ICE\u003c/a> during Pride month, makes her return to the stage on \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899?aff=ebdssbcategorybrowse\">Friday, Nov. 7 at Oakland’s White Horse\u003c/a> for a performance that doubles as a fundraiser as she rebuilds her life.\u003c/p>\n\u003cp>Born in El Salvador and raised in Guatemala, Rivers came to San Francisco as an asylum seeker fleeing persecution for her LGBTQ+ identity. The day after she placed second in Miss & Mr. Safe Latino, a long-running pageant presented by Instituto Familiar de la Raza, ICE agents arrested her at a routine immigration appointment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a recent \u003ca href=\"https://48hills.org/2025/10/drag-queen-snatched-by-ice-released-with-asylum-it-was-terrible/\">interview with \u003cem>El Tecolote\u003c/em> and 48 Hills\u003c/a>, Rivers recounted her harrowing three months in immigration detention at the Golden State Annex detention center in McFarland, California, where she was kept in a freezing cold cell so overcrowded that people had to take turns sitting down. She said she experienced sexual abuse while behind bars, and survived an injury that now requires surgery.\u003c/p>\n\u003cp>Rivers was granted asylum and returned home to San Francisco on Sept. 20. Now, the drag community is rallying around her as she works to bounce back physically, emotionally and financially.\u003c/p>\n\u003cp>“I learned I’d lost almost everything, housing and belongings,” she told \u003cem>El Tecolote\u003c/em> reporter Emma Lorraine Garcia. “Some documents were missing. I’m starting from zero. Physically, I still need surgery on my leg, which got worse during detention. But I’m free, and that gives me strength.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At White Horse, a nearly 100-year-old queer bar in North Oakland, Rivers will take the stage at a party called \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899?aff=ebdssbcategorybrowse\">Caballo Blanco Against ICE\u003c/a>. Joining her will be drag artists \u003ca href=\"https://www.instagram.com/xochitlqueensf/\">Xochitl\u003c/a> and \u003ca href=\"https://www.instagram.com/la_toritia/#\">Tori Tia\u003c/a>, plus DJ Deft behind the decks.\u003c/p>\n\u003cp>The show is organized by \u003ca href=\"https://www.instagram.com/chillonassf/\">Chillonas\u003c/a>, a queer Latine party in San Francisco that’s been sharing immigration resources and protest information, and \u003ca href=\"https://www.instagram.com/sabesquecollective/#\">Sabes Que\u003c/a>, a Latine and Indigenous queer artist collective.\u003c/p>\n\u003cp>Rivers also has a \u003ca href=\"https://www.gofundme.com/f/help-hilary-rivers-reestablish-her-life-after-ice-detention\">GoFundMe\u003c/a> to cover moving expenses, lost income and basic necessities as she recovers from surgery.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hilary Rivers, Xochitl and Tori Tia perform as part of \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899\">Caballo Blanco Against ICE\u003c/a> on Friday, Nov. 7 at the White Horse (6551 Telegraph Avenue, Oakland). \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every October, \u003ca href=\"https://www.fanhs-national.org/filam/filipino-american-history-month-2025\">Filipino American History Month\u003c/a> honors more than a century of Filipino presence in the United States. In the Bay Area, that legacy runs deep: Cities such as San José, Milpitas and Daly City have long served as hubs for the Filipino diaspora. San José alone is home to around 109,000 Filipino residents, making it one of the 10 largest Filipino communities in the country, according to a Pew Research Center analysis of census data.\u003c/p>\n\u003cp>So it makes sense that San José plays host to a slew of cultural events this month — such as \u003ca href=\"https://www.eventbrite.com/e/4th-annual-kababayan-drag-brunch-tickets-1762716465399\">Kababayan Drag Brunch\u003c/a>, which returns for its fourth year on Saturday, Oct. 18 at Strike Brewing Company. First organized in 2021, this drag brunch has become a South Bay fixture during Filipino American History Month, reflecting the area’s vibrant intersection of Filipino and LGBTQ+ culture.\u003c/p>\n\u003cp>Hosted by drag performers Manang and Tori Tia, the all-ages event blends Filipino food, queer artistry and community pride in an afternoon of performance. “Bring your lola (grandma), bring your auntie, and bring your parents who may be supportive of queerness but don’t usually go to nightclubs,” says Manang.\u003c/p>\n\u003cfigure id=\"attachment_13982479\" class=\"wp-caption aligncenter\" style=\"max-width: 2160px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982479\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263.jpg\" alt=\"five drag queens in colorful outfits stand on a stage under a neon sign that reads 'mama kin'\" width=\"2160\" height=\"2345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263.jpg 2160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-2000x2171.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-160x174.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-768x834.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-1415x1536.jpg 1415w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-1886x2048.jpg 1886w\" sizes=\"auto, (max-width: 2160px) 100vw, 2160px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Manang, Kashewpeia, Tala, John Feddellaga and Tori Tia at Kababayan Drag Brunch 2023. \u003ccite>(Courtesy of Manang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s show features six performers, including \u003cem>Drag Race Philippines\u003c/em> season three’s John Fedellaga, widely known online as the “Omegle Queen.” DJ Ayumi Please provides the soundtrack, while Filipino bites come courtesy of Gnosh Confections.\u003c/p>\n\u003cp>“This is a great event to bring people together to celebrate being Filipino, to have fun, to see queer joy,” adds Manang. “We hope Filipinos show up like we always do — yelling, cheering, laughing. It’s a big party for our community to celebrate the month and to celebrate queer joy, especially at a time when that is under threat.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>Kababayan Drag Brunch takes place Saturday, Oct. 18, from 1 to 4 p.m. at Strike Brewing Company & Warehouse Taproom (2099 S 10th St #30, San Jose). Free; more information \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/4th-annual-kababayan-drag-brunch-tickets-1762716465399\">\u003ci>here\u003c/i>\u003c/a>\u003ci>\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every October, \u003ca href=\"https://www.fanhs-national.org/filam/filipino-american-history-month-2025\">Filipino American History Month\u003c/a> honors more than a century of Filipino presence in the United States. In the Bay Area, that legacy runs deep: Cities such as San José, Milpitas and Daly City have long served as hubs for the Filipino diaspora. San José alone is home to around 109,000 Filipino residents, making it one of the 10 largest Filipino communities in the country, according to a Pew Research Center analysis of census data.\u003c/p>\n\u003cp>So it makes sense that San José plays host to a slew of cultural events this month — such as \u003ca href=\"https://www.eventbrite.com/e/4th-annual-kababayan-drag-brunch-tickets-1762716465399\">Kababayan Drag Brunch\u003c/a>, which returns for its fourth year on Saturday, Oct. 18 at Strike Brewing Company. First organized in 2021, this drag brunch has become a South Bay fixture during Filipino American History Month, reflecting the area’s vibrant intersection of Filipino and LGBTQ+ culture.\u003c/p>\n\u003cp>Hosted by drag performers Manang and Tori Tia, the all-ages event blends Filipino food, queer artistry and community pride in an afternoon of performance. “Bring your lola (grandma), bring your auntie, and bring your parents who may be supportive of queerness but don’t usually go to nightclubs,” says Manang.\u003c/p>\n\u003cfigure id=\"attachment_13982479\" class=\"wp-caption aligncenter\" style=\"max-width: 2160px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982479\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263.jpg\" alt=\"five drag queens in colorful outfits stand on a stage under a neon sign that reads 'mama kin'\" width=\"2160\" height=\"2345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263.jpg 2160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-2000x2171.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-160x174.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-768x834.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-1415x1536.jpg 1415w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-1886x2048.jpg 1886w\" sizes=\"auto, (max-width: 2160px) 100vw, 2160px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Manang, Kashewpeia, Tala, John Feddellaga and Tori Tia at Kababayan Drag Brunch 2023. \u003ccite>(Courtesy of Manang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s show features six performers, including \u003cem>Drag Race Philippines\u003c/em> season three’s John Fedellaga, widely known online as the “Omegle Queen.” DJ Ayumi Please provides the soundtrack, while Filipino bites come courtesy of Gnosh Confections.\u003c/p>\n\u003cp>“This is a great event to bring people together to celebrate being Filipino, to have fun, to see queer joy,” adds Manang. “We hope Filipinos show up like we always do — yelling, cheering, laughing. It’s a big party for our community to celebrate the month and to celebrate queer joy, especially at a time when that is under threat.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>Kababayan Drag Brunch takes place Saturday, Oct. 18, from 1 to 4 p.m. at Strike Brewing Company & Warehouse Taproom (2099 S 10th St #30, San Jose). Free; more information \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/4th-annual-kababayan-drag-brunch-tickets-1762716465399\">\u003ci>here\u003c/i>\u003c/a>\u003ci>\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Oasis, SF’s Iconic Drag Club, Will Close Down at the End of the Year",
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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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"content": "\u003cp>\u003cstrong>\u003cem>Editor’s note:\u003c/em>\u003c/strong>\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>\u003cspan style=\"font-weight: 400\">“The most interesting women are not women at all,” reads the back of a Finocchio’s souvenir magazine from the club’s early days. This, of course, was meant to be interpreted as a tongue-in-cheek nod to the anatomy of many of its performers — mostly men dressed in colorful gowns and shiny heels. Though Finocchio’s marketed itself to a straight audience and treated \u003ca href=\"https://www.kqed.org/arts/tag/drag\">drag\u003c/a> as a curiosity, for some \u003ca href=\"https://www.kqed.org/arts/tag/transgender\">trans\u003c/a> women the venue became a haven where they could express their true gender identity without fear.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13977497\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977497\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Li-Kar-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Li-Kar-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Li-Kar-2000x1292.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Li-Kar-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Li-Kar-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Li-Kar-1536x992.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Li-Kar-2048x1323.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Li-Kar was an artist whose creative direction shaped the early days of Finocchio’s. \u003ccite>(Courtesy of GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Almost exactly 89 years ago, on June 15, 1936, the first “female impersonators” set foot on the stage at 506 Broadway, the building that housed Finocchio’s up until its closure in 1999. Before relocating to this address, the bar was more of a speakeasy that sometimes featured drag performers, though that was enough for the police to take notice and raid the place. At its new location, above Enrico’s Café, the club flourished as it quickly gained notoriety for being the best venue to see men in gowns and wigs on the West Coast.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Word even spread among the celebrities that were often being impersonated by Finocchio’s performers. “Bette Davis and Lana Turner came to sit ringside,” wrote Aleshia Brevard, who performed at Finocchio’s under her stage moniker “Lee Shaw,” in her memoir. Liza Minnelli, Frank Sinatra, Ava Gardner, Judy Garland, Marilyn Monroe and more Hollywood royalty are said to have paid a visit to the club in its heyday. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13977512\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977512\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_postcard1.jpg\" alt=\"\" width=\"2000\" height=\"1349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_postcard1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_postcard1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_postcard1-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_postcard1-1536x1036.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Finocchio’s postcard from the 1970s. Ephemera collection. \u003ccite>(Courtesy of GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“For me, Finocchio’s offered the first sense of true acceptance I’d ever known,” said Brevard of her time as a performer. A young trans woman, she appreciated the attention she was getting as a drag diva. \u003c/span>\u003cspan style=\"font-weight: 400\">“Several straight men wanted to date me; a few luckless female strippers wanted relationships; and more than a few intrigued military men were willing to dismiss the fact that I was a boy,” she wrote in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Woman I Was Not Born To Be: A Transsexual Journey\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Brevard had the fortune of looking naturally feminine since her childhood, something she said “saved her” from having to “sell her ass on Turk Street” to make a living, since Finocchio’s was one of the very few spots in the city that were willing to employ trans women.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13977209\" class=\"wp-caption alignnone\" style=\"max-width: 1248px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/image-1.png\" alt=\"\" width=\"1248\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/image-1.png 1248w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/image-1-160x205.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/image-1-768x985.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/image-1-1198x1536.png 1198w\" sizes=\"auto, (max-width: 1248px) 100vw, 1248px\">\u003cfigcaption class=\"wp-caption-text\">Aleshia Brevard performed at Finocchio’s under her stage moniker ‘Lee Shaw.’ \u003ccite>(Artist image)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still, Brevard’s first audition to perform at Finocchio’s was not without hurdles. Stormy Lee, a star burlesque performer at the club, interrogated her about whether she had a nose job and accused her of being on Hormone Replacement Therapy (HRT). HRT was not tolerated by all of the performers in the 1950s; some saw it as a cheat code for achieving a more feminine appearance. In a way, HRT to Finocchio’s performers was seen as what doping is to Olympians — except today, we know HRT is a \u003ca href=\"https://www.kqed.org/news/tag/gender-affirming-care\">life-saving medical treatment\u003c/a> for trans people.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13977500\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13977500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Finocchios-caricature-2000x1291.jpg\" alt=\"\" width=\"2000\" height=\"1291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Finocchios-caricature-2000x1291.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Finocchios-caricature-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Finocchios-caricature-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Finocchios-caricature-1536x992.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Finocchios-caricature-2048x1322.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Li-Kar’s caricature drawing of Finocchio’s performers was the centerfold of this souvenir magazine. \u003ccite>(Courtesy of GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Finocchio’s was not explicitly advertised as an entertainment venue for the queer community, even though it employed numerous queer and trans performers. The shows at Finocchio’s were framed as being “exotic” and “comedic” to attract a wider array of patrons. Lori Shannon, a drag queen who went on to play a transgender woman on the CBS sitcom \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">All in the Family\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, was described as being “no lady” and a “comedy star” in promotional materials. This kind of presentation, ironically, protected the performers from further police scrutiny at a time when local laws prohibited cross-dressing in public, while driving buses full of curious tourists to the venue.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13977231\" class=\"wp-caption aligncenter\" style=\"max-width: 401px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13977231\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_LoriShannon-2000x1207.jpg\" alt=\"\" width=\"401\" height=\"242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_LoriShannon-2000x1207.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_LoriShannon-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_LoriShannon-768x464.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_LoriShannon-1536x927.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_LoriShannon-2048x1236.jpg 2048w\" sizes=\"auto, (max-width: 401px) 100vw, 401px\">\u003cfigcaption class=\"wp-caption-text\">Finocchio’s performer Lori Shannon was described as being ‘no lady’ and a ‘comedy star’ in promotional materials. \u003ccite>(Courtesy of GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In their book \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Arresting Dress: Cross-Dressing, Law and Fascination in Nineteenth-Century San Francisco\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, San Francisco State University professor Clare Sears examined the emergence, operations and legacies of San Francisco’s cross-dressing law, which was enacted by the San Francisco Board of Supervisors in 1863. Remaining in effect for over a century, the law criminalized the sheer act of appearing in public “in a dress not belonging to [one’s own] sex.” Hundreds of people were arrested and outed in newspaper crime reports until it was ultimately repealed in 1974 — when dressing beyond the gender binary had already become much less risqué in San Francisco. [aside postid='arts_13959726']\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thus, as the years went on, Finocchio’s became less of a tourist hotspot and more of a local institution. Joe Finocchio, the owner of the club, died in 1986 and left it to his wife, Eve, who continued to run the show for another decade. Then, already in her 80’s, she decided to shut down the club before the turn of the century, citing dwindling crowds and a hefty rent hike — a tale as old as San Francisco itself. \u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Editor’s note:\u003c/em>\u003c/strong>\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>\u003cspan style=\"font-weight: 400\">“The most interesting women are not women at all,” reads the back of a Finocchio’s souvenir magazine from the club’s early days. This, of course, was meant to be interpreted as a tongue-in-cheek nod to the anatomy of many of its performers — mostly men dressed in colorful gowns and shiny heels. Though Finocchio’s marketed itself to a straight audience and treated \u003ca href=\"https://www.kqed.org/arts/tag/drag\">drag\u003c/a> as a curiosity, for some \u003ca href=\"https://www.kqed.org/arts/tag/transgender\">trans\u003c/a> women the venue became a haven where they could express their true gender identity without fear.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13977497\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977497\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Li-Kar-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Li-Kar-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Li-Kar-2000x1292.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Li-Kar-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Li-Kar-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Li-Kar-1536x992.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Li-Kar-2048x1323.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Li-Kar was an artist whose creative direction shaped the early days of Finocchio’s. \u003ccite>(Courtesy of GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Almost exactly 89 years ago, on June 15, 1936, the first “female impersonators” set foot on the stage at 506 Broadway, the building that housed Finocchio’s up until its closure in 1999. Before relocating to this address, the bar was more of a speakeasy that sometimes featured drag performers, though that was enough for the police to take notice and raid the place. At its new location, above Enrico’s Café, the club flourished as it quickly gained notoriety for being the best venue to see men in gowns and wigs on the West Coast.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Word even spread among the celebrities that were often being impersonated by Finocchio’s performers. “Bette Davis and Lana Turner came to sit ringside,” wrote Aleshia Brevard, who performed at Finocchio’s under her stage moniker “Lee Shaw,” in her memoir. Liza Minnelli, Frank Sinatra, Ava Gardner, Judy Garland, Marilyn Monroe and more Hollywood royalty are said to have paid a visit to the club in its heyday. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13977512\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977512\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_postcard1.jpg\" alt=\"\" width=\"2000\" height=\"1349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_postcard1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_postcard1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_postcard1-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_postcard1-1536x1036.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Finocchio’s postcard from the 1970s. Ephemera collection. \u003ccite>(Courtesy of GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“For me, Finocchio’s offered the first sense of true acceptance I’d ever known,” said Brevard of her time as a performer. A young trans woman, she appreciated the attention she was getting as a drag diva. \u003c/span>\u003cspan style=\"font-weight: 400\">“Several straight men wanted to date me; a few luckless female strippers wanted relationships; and more than a few intrigued military men were willing to dismiss the fact that I was a boy,” she wrote in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Woman I Was Not Born To Be: A Transsexual Journey\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Brevard had the fortune of looking naturally feminine since her childhood, something she said “saved her” from having to “sell her ass on Turk Street” to make a living, since Finocchio’s was one of the very few spots in the city that were willing to employ trans women.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13977209\" class=\"wp-caption alignnone\" style=\"max-width: 1248px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/image-1.png\" alt=\"\" width=\"1248\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/image-1.png 1248w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/image-1-160x205.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/image-1-768x985.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/image-1-1198x1536.png 1198w\" sizes=\"auto, (max-width: 1248px) 100vw, 1248px\">\u003cfigcaption class=\"wp-caption-text\">Aleshia Brevard performed at Finocchio’s under her stage moniker ‘Lee Shaw.’ \u003ccite>(Artist image)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still, Brevard’s first audition to perform at Finocchio’s was not without hurdles. Stormy Lee, a star burlesque performer at the club, interrogated her about whether she had a nose job and accused her of being on Hormone Replacement Therapy (HRT). HRT was not tolerated by all of the performers in the 1950s; some saw it as a cheat code for achieving a more feminine appearance. In a way, HRT to Finocchio’s performers was seen as what doping is to Olympians — except today, we know HRT is a \u003ca href=\"https://www.kqed.org/news/tag/gender-affirming-care\">life-saving medical treatment\u003c/a> for trans people.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13977500\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13977500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Finocchios-caricature-2000x1291.jpg\" alt=\"\" width=\"2000\" height=\"1291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Finocchios-caricature-2000x1291.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Finocchios-caricature-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Finocchios-caricature-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Finocchios-caricature-1536x992.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Finocchios-caricature-2048x1322.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Li-Kar’s caricature drawing of Finocchio’s performers was the centerfold of this souvenir magazine. \u003ccite>(Courtesy of GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Finocchio’s was not explicitly advertised as an entertainment venue for the queer community, even though it employed numerous queer and trans performers. The shows at Finocchio’s were framed as being “exotic” and “comedic” to attract a wider array of patrons. Lori Shannon, a drag queen who went on to play a transgender woman on the CBS sitcom \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">All in the Family\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, was described as being “no lady” and a “comedy star” in promotional materials. This kind of presentation, ironically, protected the performers from further police scrutiny at a time when local laws prohibited cross-dressing in public, while driving buses full of curious tourists to the venue.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13977231\" class=\"wp-caption aligncenter\" style=\"max-width: 401px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13977231\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_LoriShannon-2000x1207.jpg\" alt=\"\" width=\"401\" height=\"242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_LoriShannon-2000x1207.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_LoriShannon-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_LoriShannon-768x464.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_LoriShannon-1536x927.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_Business_Finocchios_LoriShannon-2048x1236.jpg 2048w\" sizes=\"auto, (max-width: 401px) 100vw, 401px\">\u003cfigcaption class=\"wp-caption-text\">Finocchio’s performer Lori Shannon was described as being ‘no lady’ and a ‘comedy star’ in promotional materials. \u003ccite>(Courtesy of GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In their book \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Arresting Dress: Cross-Dressing, Law and Fascination in Nineteenth-Century San Francisco\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, San Francisco State University professor Clare Sears examined the emergence, operations and legacies of San Francisco’s cross-dressing law, which was enacted by the San Francisco Board of Supervisors in 1863. Remaining in effect for over a century, the law criminalized the sheer act of appearing in public “in a dress not belonging to [one’s own] sex.” Hundreds of people were arrested and outed in newspaper crime reports until it was ultimately repealed in 1974 — when dressing beyond the gender binary had already become much less risqué in San Francisco. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thus, as the years went on, Finocchio’s became less of a tourist hotspot and more of a local institution. Joe Finocchio, the owner of the club, died in 1986 and left it to his wife, Eve, who continued to run the show for another decade. Then, already in her 80’s, she decided to shut down the club before the turn of the century, citing dwindling crowds and a hefty rent hike — a tale as old as San Francisco itself. \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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.",
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"onourwatch": {
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"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?",
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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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