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"title": "Highlights of Bay Area Theatre and Dance to See This Fall",
"headTitle": "Highlights of Bay Area Theatre and Dance to See This Fall | KQED",
"content": "\u003cp>When the first wave of COVID-19 closures hit in March 2020, nobody could predict exactly when (or indeed, if) arts spaces would be able to open their doors again to in-person performance. Initially it seemed as if reopening might happen within three weeks. Then another month. Then another. And here we are, seventeen months later, when a large number of venues are still dark or operating at limited capacity.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>With the rise of the delta variant, performing arts spaces have had to navigate this year’s reopening with an abundance of caution and maximum flexibility. In practical terms, this has meant fluctuating performance dates, last-minute cancellations and postponements, and the understanding on both sides of the stage that things could change at any moment.\u003c/p>\n\u003cp>Despite this, the artistic imperative to create, communicate, and connect remains strong in the Bay Area. With the caveat that dates, locations, and COVID-19 protocols might change between now and showtime, here’s a roundup of essential fall performances to put on your calendar.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Reminder\u003c/strong>: COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13901821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13901821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ensemble from a 2019 production of ‘I Too Sing America.’ \u003ccite>(Natalia Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfbatco.org/new-roots-theatre-festival\" rel=\"noopener noreferrer\" target=\"_blank\">New Roots Theatre Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Brava Theater Center, San Francisco\u003cbr>\nOct. 16 and 17\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not content to welcome audiences back with a single play, San Francisco Bay Area Theatre Company (SFBATCO) has instead curated an entire festival. The inaugural New Roots Theatre Festival includes an Afrofuturist play in verse by Aidaa Peerzada, a musical centering the East Bay’s Betty Reid Soskin (the oldest living park ranger in the United States), a performance from SF’s Cuicacalli Ballet Folklórico, and short pieces produced by Black-led organizations including Lorraine Hansberry Theatre Company, African-American Shakespeare Company, AfroSolo, and PUSH Dance. (The companies are organized into “pods” that perform in tandem, with repeating shows, so audiences can see the whole program over the course of the weekend.)\u003c/p>\n\u003cp>Additionally, SFBATCO will revive their award-winning \u003cem>I, Too, Sing America\u003c/em>. First conceptualized in 2018 by music director Othello Jefferson, \u003cem>ITSA\u003c/em> sets works by notable artists of color such as Langston Hughes, Gwendolyn Brooks, Frances Chung and Beyoncé to music and movement. This timely revival includes new materials for 2021 while celebrating the long history of revolutionary poetry and prose as an American tradition. \u003c/p>\n\u003cfigure id=\"attachment_13901819\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13901819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers for ‘Radius’ at the CounterPulse Festival. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://counterpulse.org/event/festival2021/\" rel=\"noopener noreferrer\" target=\"_blank\">The CounterPulse Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various venues; also online\u003cbr>\nSept. 9–18\u003c/em>\u003c/p>\n\u003cp>The rescheduled CounterPulse Festival—featuring performances, panels, poetry, film, and workshops—comes to both physical and virtual space in San Francisco, Oakland, and even the Santa Cruz Mountains. As an artistic home to many of the Bay Area’s most imaginative multidisciplinary performers, CounterPulse’s focus on embodied liberation and communal arts practice lends itself to festival mode. \u003c/p>\n\u003cp>Some standouts include new work from FACT/SF, a facilitated conversation between Bay Area-based “Queeratorial collectives” entitled “Fuck the System,” an embodied divination workshop with Amara Tabor Smith, and a film series inspired by the writings of Jean Genet and Sufi mystic Ibn Arabi, instigated by Zulfikar Ali Bhutto and partially narrated by his alter ego Faluda Islam. The weeklong festival culminates with \u003cem>Radius\u003c/em>, an improvisational outdoor performance exploring power dynamics and collaborative energies, featuring dance artists, experimental electronic musicians, and CounterPulse’s artistic and executive director Julie Phelps. Pre-registration is required, and proof of vaccination and masks are required for indoor events.\u003c/p>\n\u003cfigure id=\"attachment_13901824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13901824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Displaced’ stars Troy Rockett and Jordan Don. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://www.crowdedfire.org/displaced/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Displaced’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Potrero Stage, San Francisco\u003cbr>\nSept. 9–Oct. 2\u003c/em>\u003c/p>\n\u003cp>Another play postponed by the pandemic, \u003cem>The Displaced\u003c/em> by Isaac Gómez is a two-hander horror story with a solid reputation for inspiring unease. When artistic couple Marísa and Lev move into their new apartment, their quotidian squabbling can’t distract from a series of unexplainable events unfolding around them. But are they being haunted by their own fragmented dysfunction, or by a tormented spirit with cause to linger? \u003c/p>\n\u003cp>Recently rewritten with a pair of alternate endings, Gómez’ nervy script gradually reveals itself to be about much more than a few flying tchotchkes; it also addresses gentrification, generational wealth, racial inequity, and displacement. Featuring Jordan Don and Troy Rockett as the troubled protagonists—with direction by Mina Morita and Karina Gutiérrez, and special effects design by Devon LaBelle—Crowded Fire’s production of \u003cem>The Displaced\u003c/em> offers both a savvy indictment of our time, and a seasonally appropriate scary story. Masks and proof of vaccination are required, while select shows allow a proof of negative COVID test instead (check website for dates).\u003c/p>\n\u003cfigure id=\"attachment_13901820\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-1020x835.jpg\" alt=\"\" width=\"640\" height=\"524\" class=\"size-large wp-image-13901820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-1536x1257.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Abbey Lee in ‘Galatea.’ \u003ccite>(Jennifer Griego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.ci.rohnert-park.ca.us/city_hall/departments/spreckels_performing_arts_center\" rel=\"noopener noreferrer\" target=\"_blank\">‘Galatea’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Spreckels Performing Arts Center, Rohnert Park\u003cbr>\nSept. 3–19\u003c/em>\u003c/p>\n\u003cp>One of the many shows forced to postpone in March 2020 was \u003cem>Galatea\u003c/em>, a science fiction play by North Bay playwright David Templeton. Set in the year 2167, the play follows the revival and reintegration process of an android traveler known as Seventy-One. The only survivor from the Galatea, a long-destroyed space shuttle, Seventy-One is encouraged by a pair of amiable doctors to remember the events that led them to escaping the fate that befell the rest of their crewmates. Nothing is quite what it seems, and several key plot twists stretch the narrative in unexpected directions.\u003c/p>\n\u003cp>At the heart of the play is a thoughtful examination of what it means to be human in an era where synthetic lifeforms predominate. What are the characteristics that can be shared with our AI comrades, and what will always be the sole provenance of “organics?” Templeton’s smartly constructed fantasy won an honorable mention from the Will Glickman Award panel (of which I am a member) in 2020, and is finally receiving its well-deserved stage premiere. Proof of vaccination or recent negative COVID test, and masking, is required.\u003c/p>\n\u003cfigure id=\"attachment_13901825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13901825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Immortal Reckoning’ with Peaches Christ (center) and ensemble members. \u003ccite>(Jose A. Guzman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.intothedarksf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Immortal Reckoning’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Old Mint, San Francisco\u003cbr>\nSept. 23–Oct. 31\u003c/em>\u003c/p>\n\u003cp>As fans of horror movies can attest, sometimes the best way to escape the stresses of real-life horror (such as, say, a raging pandemic and an overheated planet) is through a good old-fashioned haunting. When longtime horror aficionado Joshua Grannell a.k.a. Peaches Christ first debuted their collaborative brainchild \u003cem>The Terror Vault\u003c/em> in 2018, it ushered in a new standard of haunted attraction for the Bay Area. It’s a standard certain to be upheld in this year’s production: \u003cem>The Immortal Reckoning\u003c/em>.\u003c/p>\n\u003cp>Using the imposing architectural features of the old San Francisco Mint—stone walls, vaulted ceilings, dusty chandeliers, and a subterranean warren of interconnected rooms—costumed characters will guide audiences through a rare collection of supernatural artifacts, rumored to be conduits to an “immortal” realm. Levels of interactivity can be opted into (and out of, should you change your mind) and limits are thankfully respected. Still, expect to be menaced, mocked, questioned, sniffed and startled by all manner of homicidal creatures while jostling your way through a disorienting maze designed by the diabolically talented David Flower. Masks and proof of vaccination are required, with no exceptions or refunds.\u003c/p>\n\u003cfigure id=\"attachment_13901826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13901826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bruns Ampitheater. \u003ccite>(Zhanara Baisalova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calshakes.org/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Winter’s Tale’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Bruns Ampitheater, Orinda\u003cbr>\nSept. 1–26\u003c/em>\u003c/p>\n\u003cp>Nestled in the Orinda hills and open to the darkening sky and emerging stars, the Bruns Amphitheater provides a stellar setting for Shakespearean fare—and for audiences wary about returning to indoor theater. A romance wrapped in a tale of abandonment and loss, \u003cem>The Winter’s Tale\u003c/em> was last performed at the Bruns in 2013. Emphasizing renewal, redemption and hope, this fresh adaptation from artistic director Eric Ting and dramaturg Phillipa Kelly should provide a welcome escape and a pertinent reflection. Proof of vaccination is not required; masks are required for unvaccinated audience members and all other patrons when not “actively eating or drinking.”\u003c/p>\n\u003cfigure id=\"attachment_13901823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13901823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kirsten Millan and Vanessa Sanchez from La Mezcla. \u003ccite>(Amani Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dance it Out\u003c/h2>\n\u003cp>Accustomed to creating site-responsive works to suit a variety of (often) non-traditional spaces and occasions, Bay Area choreographers have demonstrated their innate resiliency time and time again. This ability to adapt and innovate has allowed many artists in the dance community to find ways to create together, even during the darkest days of the pandemic. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://counterpulse.org/event/mercy/\" rel=\"noopener noreferrer\" target=\"_blank\">‘Meet Us Quickly With Your Mercy’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>CounterPulse, San Francisco\u003cbr>\nOct. 14–17\u003c/em>\u003c/p>\n\u003cp>In Flyaway Productions’ \u003cem>Meet Us Quickly With Your Mercy\u003c/em>, artistic director Jo Kreiter grapples with the historical throughline of slavery leading to the present-day mass incarceration of Black Americans, as well as with a new rise in trans-Atlantic anti-Jewish sentiment and white nationalism. Using aerial apparatus fashioned to resemble cages suspended above the ground, and music composed by the late Jewlia Eisenberg, Flyaway Productions performs this second part of their ongoing Decarceration Trilogy with the walls of CounterPulse’s Tenderloin building as their backdrop. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.hopemohr.org/bacchae\" rel=\"noopener noreferrer\" target=\"_blank\">‘Bacchae Before’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Joe Goode Annex, San Francisco; also online\u003cbr>\nLive performance Sept. 28–Oct. 2; online Oct. 2\u003c/em>\u003c/p>\n\u003cp>In \u003cem>Bacchae Before\u003c/em>, Hope Mohr Dance ties together the tragedy of Euripides’ \u003cem>The Baccae\u003c/em> (via Anne Carson’s notable translation) with the modern-day violence of gender reveal parties. Performed by Belinda He, Wiley Naman Strasser, Karla Quintero, and Silk Worm—with puppetry by C. Michael Chin, and additional text and co-direction provided by Maxe Crandall—\u003cem>Bacchae Before\u003c/em> distills and refracts a classical text of frenzy and filicide through a trans-centered, gender-affirming perspective. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://epiphanydance.org/san-francisco-trolley-dances\" rel=\"noopener noreferrer\" target=\"_blank\">Trolley Dances\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Throughout San Francisco\u003cbr>\nOct. 16–17\u003c/em>\u003c/p>\n\u003cp>With the welcome return of Trolley Dances, curated by Kim Epifano’s Epiphany Dance Theater, audiences will ride the K and L lines from the Castro to the East Cut, encountering short vignettes from Babatunji & Charmaine, Epiphany Dance Theater, Joe Landini & Dancers, La Mezcla, Parangal Dance Company, and Rising Rhythm. More than a celebration of public transportation, Trolley Dances is a transformative interrogation of public space and the porous boundaries between performer and spectator. \u003c/p>\n\u003cfigure id=\"attachment_13901818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13901818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers from Circus Bella. \u003ccite>(Ron Scherl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Circus Freeks\u003c/h2>\n\u003cp>Need something to take the kids to? Maybe just in need of a little whimsy? Catch these circus performances—one outdoors, one indoors. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.circusbella.org/humorous\" rel=\"noopener noreferrer\" target=\"_blank\">Circus Bella\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Various locations\u003cbr>\nAug. 26-Oct. 3\u003c/em>\u003c/p>\n\u003cp>Having kicked off at Oakland’s DeFremery Park on Aug. 26, Circus Bella’s \u003cem>Humorous\u003c/em> will embark on a free, 12-performance tour of parks and public spaces through Oct. 3. A one-ring, people-powered circus, Circus Bella eschews circus animals in favor of mainstays such as aerialists, acrobats, and clowns. Directed by company founder Abigail Munn, \u003cem>Humorous\u003c/em> features some of the Bay Area’s most prolific circus performers: creative clowning duo Jamie Coventry and Natasha Kaluza, queer circus icon Toni Cannon, and aerialist Dwoira Galilia. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.clubfugazisf.com\" rel=\"noopener noreferrer\" target=\"_blank\">‘Dear San Francisco’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Club Fugazi, San Francisco\u003cbr>\nOngoing starting Sept. 22\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For those ready to brave the great indoors, Club Fugazi in North Beach hosts the circus-y love-letter-to-the-city \u003cem>Dear San Francisco\u003c/em>. At the longtime home of the now-shuttered Beach Blanket Babylon, the circus collective 7 Fingers boasts SF-raised founders, an immensely talented international cast, and some of the Bay Area’s best designers—including Jake Rodriguez, Alexander V. Nichols, and Keiko Shimosato Carreiro. Masks and proof of vaccination with ID required for all patrons. Unvaccinated children 5-11 may attend with vaccinated adult(s). \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the first wave of COVID-19 closures hit in March 2020, nobody could predict exactly when (or indeed, if) arts spaces would be able to open their doors again to in-person performance. Initially it seemed as if reopening might happen within three weeks. Then another month. Then another. And here we are, seventeen months later, when a large number of venues are still dark or operating at limited capacity.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>With the rise of the delta variant, performing arts spaces have had to navigate this year’s reopening with an abundance of caution and maximum flexibility. In practical terms, this has meant fluctuating performance dates, last-minute cancellations and postponements, and the understanding on both sides of the stage that things could change at any moment.\u003c/p>\n\u003cp>Despite this, the artistic imperative to create, communicate, and connect remains strong in the Bay Area. With the caveat that dates, locations, and COVID-19 protocols might change between now and showtime, here’s a roundup of essential fall performances to put on your calendar.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Reminder\u003c/strong>: COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13901821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13901821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ensemble from a 2019 production of ‘I Too Sing America.’ \u003ccite>(Natalia Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfbatco.org/new-roots-theatre-festival\" rel=\"noopener noreferrer\" target=\"_blank\">New Roots Theatre Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Brava Theater Center, San Francisco\u003cbr>\nOct. 16 and 17\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not content to welcome audiences back with a single play, San Francisco Bay Area Theatre Company (SFBATCO) has instead curated an entire festival. The inaugural New Roots Theatre Festival includes an Afrofuturist play in verse by Aidaa Peerzada, a musical centering the East Bay’s Betty Reid Soskin (the oldest living park ranger in the United States), a performance from SF’s Cuicacalli Ballet Folklórico, and short pieces produced by Black-led organizations including Lorraine Hansberry Theatre Company, African-American Shakespeare Company, AfroSolo, and PUSH Dance. (The companies are organized into “pods” that perform in tandem, with repeating shows, so audiences can see the whole program over the course of the weekend.)\u003c/p>\n\u003cp>Additionally, SFBATCO will revive their award-winning \u003cem>I, Too, Sing America\u003c/em>. First conceptualized in 2018 by music director Othello Jefferson, \u003cem>ITSA\u003c/em> sets works by notable artists of color such as Langston Hughes, Gwendolyn Brooks, Frances Chung and Beyoncé to music and movement. This timely revival includes new materials for 2021 while celebrating the long history of revolutionary poetry and prose as an American tradition. \u003c/p>\n\u003cfigure id=\"attachment_13901819\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13901819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers for ‘Radius’ at the CounterPulse Festival. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://counterpulse.org/event/festival2021/\" rel=\"noopener noreferrer\" target=\"_blank\">The CounterPulse Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various venues; also online\u003cbr>\nSept. 9–18\u003c/em>\u003c/p>\n\u003cp>The rescheduled CounterPulse Festival—featuring performances, panels, poetry, film, and workshops—comes to both physical and virtual space in San Francisco, Oakland, and even the Santa Cruz Mountains. As an artistic home to many of the Bay Area’s most imaginative multidisciplinary performers, CounterPulse’s focus on embodied liberation and communal arts practice lends itself to festival mode. \u003c/p>\n\u003cp>Some standouts include new work from FACT/SF, a facilitated conversation between Bay Area-based “Queeratorial collectives” entitled “Fuck the System,” an embodied divination workshop with Amara Tabor Smith, and a film series inspired by the writings of Jean Genet and Sufi mystic Ibn Arabi, instigated by Zulfikar Ali Bhutto and partially narrated by his alter ego Faluda Islam. The weeklong festival culminates with \u003cem>Radius\u003c/em>, an improvisational outdoor performance exploring power dynamics and collaborative energies, featuring dance artists, experimental electronic musicians, and CounterPulse’s artistic and executive director Julie Phelps. Pre-registration is required, and proof of vaccination and masks are required for indoor events.\u003c/p>\n\u003cfigure id=\"attachment_13901824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13901824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Displaced’ stars Troy Rockett and Jordan Don. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://www.crowdedfire.org/displaced/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Displaced’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Potrero Stage, San Francisco\u003cbr>\nSept. 9–Oct. 2\u003c/em>\u003c/p>\n\u003cp>Another play postponed by the pandemic, \u003cem>The Displaced\u003c/em> by Isaac Gómez is a two-hander horror story with a solid reputation for inspiring unease. When artistic couple Marísa and Lev move into their new apartment, their quotidian squabbling can’t distract from a series of unexplainable events unfolding around them. But are they being haunted by their own fragmented dysfunction, or by a tormented spirit with cause to linger? \u003c/p>\n\u003cp>Recently rewritten with a pair of alternate endings, Gómez’ nervy script gradually reveals itself to be about much more than a few flying tchotchkes; it also addresses gentrification, generational wealth, racial inequity, and displacement. Featuring Jordan Don and Troy Rockett as the troubled protagonists—with direction by Mina Morita and Karina Gutiérrez, and special effects design by Devon LaBelle—Crowded Fire’s production of \u003cem>The Displaced\u003c/em> offers both a savvy indictment of our time, and a seasonally appropriate scary story. Masks and proof of vaccination are required, while select shows allow a proof of negative COVID test instead (check website for dates).\u003c/p>\n\u003cfigure id=\"attachment_13901820\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-1020x835.jpg\" alt=\"\" width=\"640\" height=\"524\" class=\"size-large wp-image-13901820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-1536x1257.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Abbey Lee in ‘Galatea.’ \u003ccite>(Jennifer Griego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.ci.rohnert-park.ca.us/city_hall/departments/spreckels_performing_arts_center\" rel=\"noopener noreferrer\" target=\"_blank\">‘Galatea’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Spreckels Performing Arts Center, Rohnert Park\u003cbr>\nSept. 3–19\u003c/em>\u003c/p>\n\u003cp>One of the many shows forced to postpone in March 2020 was \u003cem>Galatea\u003c/em>, a science fiction play by North Bay playwright David Templeton. Set in the year 2167, the play follows the revival and reintegration process of an android traveler known as Seventy-One. The only survivor from the Galatea, a long-destroyed space shuttle, Seventy-One is encouraged by a pair of amiable doctors to remember the events that led them to escaping the fate that befell the rest of their crewmates. Nothing is quite what it seems, and several key plot twists stretch the narrative in unexpected directions.\u003c/p>\n\u003cp>At the heart of the play is a thoughtful examination of what it means to be human in an era where synthetic lifeforms predominate. What are the characteristics that can be shared with our AI comrades, and what will always be the sole provenance of “organics?” Templeton’s smartly constructed fantasy won an honorable mention from the Will Glickman Award panel (of which I am a member) in 2020, and is finally receiving its well-deserved stage premiere. Proof of vaccination or recent negative COVID test, and masking, is required.\u003c/p>\n\u003cfigure id=\"attachment_13901825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13901825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Immortal Reckoning’ with Peaches Christ (center) and ensemble members. \u003ccite>(Jose A. Guzman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.intothedarksf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Immortal Reckoning’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Old Mint, San Francisco\u003cbr>\nSept. 23–Oct. 31\u003c/em>\u003c/p>\n\u003cp>As fans of horror movies can attest, sometimes the best way to escape the stresses of real-life horror (such as, say, a raging pandemic and an overheated planet) is through a good old-fashioned haunting. When longtime horror aficionado Joshua Grannell a.k.a. Peaches Christ first debuted their collaborative brainchild \u003cem>The Terror Vault\u003c/em> in 2018, it ushered in a new standard of haunted attraction for the Bay Area. It’s a standard certain to be upheld in this year’s production: \u003cem>The Immortal Reckoning\u003c/em>.\u003c/p>\n\u003cp>Using the imposing architectural features of the old San Francisco Mint—stone walls, vaulted ceilings, dusty chandeliers, and a subterranean warren of interconnected rooms—costumed characters will guide audiences through a rare collection of supernatural artifacts, rumored to be conduits to an “immortal” realm. Levels of interactivity can be opted into (and out of, should you change your mind) and limits are thankfully respected. Still, expect to be menaced, mocked, questioned, sniffed and startled by all manner of homicidal creatures while jostling your way through a disorienting maze designed by the diabolically talented David Flower. Masks and proof of vaccination are required, with no exceptions or refunds.\u003c/p>\n\u003cfigure id=\"attachment_13901826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13901826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bruns Ampitheater. \u003ccite>(Zhanara Baisalova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calshakes.org/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Winter’s Tale’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Bruns Ampitheater, Orinda\u003cbr>\nSept. 1–26\u003c/em>\u003c/p>\n\u003cp>Nestled in the Orinda hills and open to the darkening sky and emerging stars, the Bruns Amphitheater provides a stellar setting for Shakespearean fare—and for audiences wary about returning to indoor theater. A romance wrapped in a tale of abandonment and loss, \u003cem>The Winter’s Tale\u003c/em> was last performed at the Bruns in 2013. Emphasizing renewal, redemption and hope, this fresh adaptation from artistic director Eric Ting and dramaturg Phillipa Kelly should provide a welcome escape and a pertinent reflection. Proof of vaccination is not required; masks are required for unvaccinated audience members and all other patrons when not “actively eating or drinking.”\u003c/p>\n\u003cfigure id=\"attachment_13901823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13901823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kirsten Millan and Vanessa Sanchez from La Mezcla. \u003ccite>(Amani Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dance it Out\u003c/h2>\n\u003cp>Accustomed to creating site-responsive works to suit a variety of (often) non-traditional spaces and occasions, Bay Area choreographers have demonstrated their innate resiliency time and time again. This ability to adapt and innovate has allowed many artists in the dance community to find ways to create together, even during the darkest days of the pandemic. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://counterpulse.org/event/mercy/\" rel=\"noopener noreferrer\" target=\"_blank\">‘Meet Us Quickly With Your Mercy’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>CounterPulse, San Francisco\u003cbr>\nOct. 14–17\u003c/em>\u003c/p>\n\u003cp>In Flyaway Productions’ \u003cem>Meet Us Quickly With Your Mercy\u003c/em>, artistic director Jo Kreiter grapples with the historical throughline of slavery leading to the present-day mass incarceration of Black Americans, as well as with a new rise in trans-Atlantic anti-Jewish sentiment and white nationalism. Using aerial apparatus fashioned to resemble cages suspended above the ground, and music composed by the late Jewlia Eisenberg, Flyaway Productions performs this second part of their ongoing Decarceration Trilogy with the walls of CounterPulse’s Tenderloin building as their backdrop. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.hopemohr.org/bacchae\" rel=\"noopener noreferrer\" target=\"_blank\">‘Bacchae Before’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Joe Goode Annex, San Francisco; also online\u003cbr>\nLive performance Sept. 28–Oct. 2; online Oct. 2\u003c/em>\u003c/p>\n\u003cp>In \u003cem>Bacchae Before\u003c/em>, Hope Mohr Dance ties together the tragedy of Euripides’ \u003cem>The Baccae\u003c/em> (via Anne Carson’s notable translation) with the modern-day violence of gender reveal parties. Performed by Belinda He, Wiley Naman Strasser, Karla Quintero, and Silk Worm—with puppetry by C. Michael Chin, and additional text and co-direction provided by Maxe Crandall—\u003cem>Bacchae Before\u003c/em> distills and refracts a classical text of frenzy and filicide through a trans-centered, gender-affirming perspective. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://epiphanydance.org/san-francisco-trolley-dances\" rel=\"noopener noreferrer\" target=\"_blank\">Trolley Dances\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Throughout San Francisco\u003cbr>\nOct. 16–17\u003c/em>\u003c/p>\n\u003cp>With the welcome return of Trolley Dances, curated by Kim Epifano’s Epiphany Dance Theater, audiences will ride the K and L lines from the Castro to the East Cut, encountering short vignettes from Babatunji & Charmaine, Epiphany Dance Theater, Joe Landini & Dancers, La Mezcla, Parangal Dance Company, and Rising Rhythm. More than a celebration of public transportation, Trolley Dances is a transformative interrogation of public space and the porous boundaries between performer and spectator. \u003c/p>\n\u003cfigure id=\"attachment_13901818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13901818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers from Circus Bella. \u003ccite>(Ron Scherl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Circus Freeks\u003c/h2>\n\u003cp>Need something to take the kids to? Maybe just in need of a little whimsy? Catch these circus performances—one outdoors, one indoors. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.circusbella.org/humorous\" rel=\"noopener noreferrer\" target=\"_blank\">Circus Bella\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Various locations\u003cbr>\nAug. 26-Oct. 3\u003c/em>\u003c/p>\n\u003cp>Having kicked off at Oakland’s DeFremery Park on Aug. 26, Circus Bella’s \u003cem>Humorous\u003c/em> will embark on a free, 12-performance tour of parks and public spaces through Oct. 3. A one-ring, people-powered circus, Circus Bella eschews circus animals in favor of mainstays such as aerialists, acrobats, and clowns. Directed by company founder Abigail Munn, \u003cem>Humorous\u003c/em> features some of the Bay Area’s most prolific circus performers: creative clowning duo Jamie Coventry and Natasha Kaluza, queer circus icon Toni Cannon, and aerialist Dwoira Galilia. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.clubfugazisf.com\" rel=\"noopener noreferrer\" target=\"_blank\">‘Dear San Francisco’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Club Fugazi, San Francisco\u003cbr>\nOngoing starting Sept. 22\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For those ready to brave the great indoors, Club Fugazi in North Beach hosts the circus-y love-letter-to-the-city \u003cem>Dear San Francisco\u003c/em>. At the longtime home of the now-shuttered Beach Blanket Babylon, the circus collective 7 Fingers boasts SF-raised founders, an immensely talented international cast, and some of the Bay Area’s best designers—including Jake Rodriguez, Alexander V. Nichols, and Keiko Shimosato Carreiro. Masks and proof of vaccination with ID required for all patrons. Unvaccinated children 5-11 may attend with vaccinated adult(s). \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "all-black-drag-show-reparations-moves-from-the-internet-to-oasis",
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"content": "\u003cp>“The sweats are back in the closet,” \u003ca href=\"https://www.instagram.com/nicki_jizz/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">Nicki Jizz\u003c/a> says of the return to live drag performances. “No more sweats.”\u003c/p>\n\u003cp>For the past year and a half, Nicki has organized and performed drag shows online, taking full advantage of green screen possibilities (“Your imagination can come to life … you can be at Hogwarts!”) and enjoying a newly broadened audience that includes fans from Japan, Argentina and Utah. But with venues reopening, the time has come to leave the internet behind. The heels have returned. \u003c/p>\n\u003cp>[aside postID='arts_13835533']On Friday, July 9, Nicki Jizz will host the first \u003ca href=\"https://www.eventbrite.com/e/reparations-an-all-black-drag-show-tickets-160905427465\" rel=\"noopener noreferrer\" target=\"_blank\">in-person show of Reparations\u003c/a>, which proudly announces itself as San Francisco’s only all-Black drag show. Started on Juneteenth 2020 in response to the murders of George Floyd and Breonna Taylor and the subsequent Black Lives Matter uprisings across the country, Reparations urges audiences to “put your money where your black square is.”\u003c/p>\n\u003cp>“Everyone put a Black Lives Matter message in their bio but immediately went back to posting thirst traps,” Nicki says of the performative solidarity that swept through social media last year. “This is not just a fad. This is not just a summer thing. This is a forever thing. We need to support Black arts every day.”\u003c/p>\n\u003cp>Reparations streamed on the Stud’s Twitch channel until Juneteenth 2021, highlighting Black performers near and far. Readers voted Reparations “Best Streaming Show” in 48 Hills’ \u003ca href=\"https://48hills.org/bestofthebay/\">2020 Best of the Bay\u003c/a> listings (and Nicki as “Best Drag Queen”). With the move to in-person performances, the show becomes a monthly fixture at Oasis (every second Friday, mark your calendars), which has \u003ca href=\"https://www.kqed.org/arts/13899058/darcy-drollinger-of-sf-oasis-is-ready-for-the-roaring-20s-to-begin\" rel=\"noopener noreferrer\" target=\"_blank\">shifted its programming\u003c/a> over the course of the pandemic to include more diverse bookings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Reparations_1200.jpg\" alt=\"\" width=\"1200\" height=\"1258\" class=\"aligncenter size-full wp-image-13899334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Reparations_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Reparations_1200-800x839.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Reparations_1200-1020x1069.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Reparations_1200-160x168.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Reparations_1200-768x805.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp>“I’m excited for the future of Black queer nightlife,” Nicki says. “I’m excited to bring performers from out of town and celebrate ones from the Bay Area and give them a place to shine that isn’t just a Beyoncé or Nicki Minaj night at other clubs.”\u003c/p>\n\u003cp>The July 9 show includes performers \u003ca href=\"https://www.instagram.com/spiciestmeatball/\" rel=\"noopener noreferrer\" target=\"_blank\">Meatball\u003c/a>, \u003ca href=\"https://www.instagram.com/bionkasimone/\" rel=\"noopener noreferrer\" target=\"_blank\">Bionka Simone\u003c/a>, \u003ca href=\"https://www.instagram.com/militiasf/\" rel=\"noopener noreferrer\" target=\"_blank\">Militia Scunt\u003c/a>, \u003ca href=\"https://www.instagram.com/sirjoq/\" rel=\"noopener noreferrer\" target=\"_blank\">Sir Joq\u003c/a>, \u003ca href=\"https://www.instagram.com/aka.that.bitch/\" rel=\"noopener noreferrer\" target=\"_blank\">Rahni NothingMore\u003c/a>, \u003ca href=\"https://www.instagram.com/nostalgiajunki3/\" rel=\"noopener noreferrer\" target=\"_blank\">KaiKai Bee Michaels\u003c/a> and \u003ca href=\"https://www.instagram.com/sfdukedogg/\" rel=\"noopener noreferrer\" target=\"_blank\">Madd Dogg 20/20\u003c/a>; with a live set by \u003ca href=\"https://www.instagram.com/allhailtheqing/\" rel=\"noopener noreferrer\" target=\"_blank\">Qing Qi\u003c/a>; an episode of \u003ci>\u003ca href=\"https://www.instagram.com/dollii.pkc/\" rel=\"noopener noreferrer\" target=\"_blank\">DolliVision\u003c/a>\u003c/i>; and tunes by \u003ca href=\"https://www.instagram.com/bigworldlittlekidd/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">DJ Kidd\u003c/a>.\u003c/p>\n\u003cp>In keeping with Reparations’ theme, the night has a unique pricing structure: $10 for Black audience members, $15 for general admission, and $25 buys a ticket for yourself and a Black trans person. Nicki says: “Be there or be racist!” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Nick Jizz hosts Reparations at Oasis (298 11th St., San Francisco) on July 9, 10pm–3am. \u003ca href=\"https://www.eventbrite.com/e/reparations-an-all-black-drag-show-tickets-160905427465\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The sweats are back in the closet,” \u003ca href=\"https://www.instagram.com/nicki_jizz/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">Nicki Jizz\u003c/a> says of the return to live drag performances. “No more sweats.”\u003c/p>\n\u003cp>For the past year and a half, Nicki has organized and performed drag shows online, taking full advantage of green screen possibilities (“Your imagination can come to life … you can be at Hogwarts!”) and enjoying a newly broadened audience that includes fans from Japan, Argentina and Utah. But with venues reopening, the time has come to leave the internet behind. The heels have returned. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On Friday, July 9, Nicki Jizz will host the first \u003ca href=\"https://www.eventbrite.com/e/reparations-an-all-black-drag-show-tickets-160905427465\" rel=\"noopener noreferrer\" target=\"_blank\">in-person show of Reparations\u003c/a>, which proudly announces itself as San Francisco’s only all-Black drag show. Started on Juneteenth 2020 in response to the murders of George Floyd and Breonna Taylor and the subsequent Black Lives Matter uprisings across the country, Reparations urges audiences to “put your money where your black square is.”\u003c/p>\n\u003cp>“Everyone put a Black Lives Matter message in their bio but immediately went back to posting thirst traps,” Nicki says of the performative solidarity that swept through social media last year. “This is not just a fad. This is not just a summer thing. This is a forever thing. We need to support Black arts every day.”\u003c/p>\n\u003cp>Reparations streamed on the Stud’s Twitch channel until Juneteenth 2021, highlighting Black performers near and far. Readers voted Reparations “Best Streaming Show” in 48 Hills’ \u003ca href=\"https://48hills.org/bestofthebay/\">2020 Best of the Bay\u003c/a> listings (and Nicki as “Best Drag Queen”). With the move to in-person performances, the show becomes a monthly fixture at Oasis (every second Friday, mark your calendars), which has \u003ca href=\"https://www.kqed.org/arts/13899058/darcy-drollinger-of-sf-oasis-is-ready-for-the-roaring-20s-to-begin\" rel=\"noopener noreferrer\" target=\"_blank\">shifted its programming\u003c/a> over the course of the pandemic to include more diverse bookings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Reparations_1200.jpg\" alt=\"\" width=\"1200\" height=\"1258\" class=\"aligncenter size-full wp-image-13899334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Reparations_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Reparations_1200-800x839.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Reparations_1200-1020x1069.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Reparations_1200-160x168.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Reparations_1200-768x805.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp>“I’m excited for the future of Black queer nightlife,” Nicki says. “I’m excited to bring performers from out of town and celebrate ones from the Bay Area and give them a place to shine that isn’t just a Beyoncé or Nicki Minaj night at other clubs.”\u003c/p>\n\u003cp>The July 9 show includes performers \u003ca href=\"https://www.instagram.com/spiciestmeatball/\" rel=\"noopener noreferrer\" target=\"_blank\">Meatball\u003c/a>, \u003ca href=\"https://www.instagram.com/bionkasimone/\" rel=\"noopener noreferrer\" target=\"_blank\">Bionka Simone\u003c/a>, \u003ca href=\"https://www.instagram.com/militiasf/\" rel=\"noopener noreferrer\" target=\"_blank\">Militia Scunt\u003c/a>, \u003ca href=\"https://www.instagram.com/sirjoq/\" rel=\"noopener noreferrer\" target=\"_blank\">Sir Joq\u003c/a>, \u003ca href=\"https://www.instagram.com/aka.that.bitch/\" rel=\"noopener noreferrer\" target=\"_blank\">Rahni NothingMore\u003c/a>, \u003ca href=\"https://www.instagram.com/nostalgiajunki3/\" rel=\"noopener noreferrer\" target=\"_blank\">KaiKai Bee Michaels\u003c/a> and \u003ca href=\"https://www.instagram.com/sfdukedogg/\" rel=\"noopener noreferrer\" target=\"_blank\">Madd Dogg 20/20\u003c/a>; with a live set by \u003ca href=\"https://www.instagram.com/allhailtheqing/\" rel=\"noopener noreferrer\" target=\"_blank\">Qing Qi\u003c/a>; an episode of \u003ci>\u003ca href=\"https://www.instagram.com/dollii.pkc/\" rel=\"noopener noreferrer\" target=\"_blank\">DolliVision\u003c/a>\u003c/i>; and tunes by \u003ca href=\"https://www.instagram.com/bigworldlittlekidd/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">DJ Kidd\u003c/a>.\u003c/p>\n\u003cp>In keeping with Reparations’ theme, the night has a unique pricing structure: $10 for Black audience members, $15 for general admission, and $25 buys a ticket for yourself and a Black trans person. Nicki says: “Be there or be racist!” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Nick Jizz hosts Reparations at Oasis (298 11th St., San Francisco) on July 9, 10pm–3am. \u003ca href=\"https://www.eventbrite.com/e/reparations-an-all-black-drag-show-tickets-160905427465\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When I Zoom into D’Arcy Drollinger’s world, an audible sound check drifts in from the next room, folks wander in and out of the frame to ask logistical questions, and Drollinger himself looks like he’s been awake for days, though his disposition is sunny and enthusiastic. After a year and a half of the pandemic—the last seven months of which his queer nightlife hub \u003ca href=\"https://www.sfoasis.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Oasis\u003c/a> has been completely closed—the grand reopening of Oasis, scheduled for Pride weekend, is finally just around the corner.\u003c/p>\n\u003cp>Opening with the Drag Disco party Princess feels especially meaningful, as it was formerly a staple of the Stud collective at their former Ninth St. digs, which shuttered just over a year ago. With the Stud collective still venue-less, it’s a symbolic melding of two beloved nightlife staples to usher in a new era of what Drollinger is calling “Oasis 2.0.” After a pandemic-induced realization that Oasis’ past programming (and ticket prices) might have attracted a somewhat insular group of regulars, Drollinger’s new vision includes more accessible pricing structures, a wider range of parties and producers, and the idea that Oasis could be—should be—a “clubhouse” for all.\u003c/p>\n\u003cp>“I feel a responsibility,” he elaborates. “Because we’re coming out of this pandemic where I feel like certain people don’t really have a home… as performers and audience members are gone. And I want to be here for them.”\u003c/p>\n\u003cfigure id=\"attachment_13899061\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-800x536.jpg\" alt=\"\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger living it up at Oasis. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if Oasis’ very existence hadn’t been threatened by the multiple crises that COVID-19 brought to the forefront, it would have been a hectic year for Drollinger. In February of 2020, he assumed full ownership of the business after co-owner Heklina sold back her stake and moved more or less full-time to Palm Springs.\u003c/p>\n\u003cp>The two began working regularly together 10 years ago while Heklina was managing Rebel, a bar on Market Street. Offered a Tuesday night slot, Drollinger decided to put on parodies of \u003cem>Sex in the City\u003c/em>—inspired in part by Heklina’s success with her popular \u003cem>Golden Girls \u003c/em>series. The show was a hit, and gradually Drollinger moved from Tuesdays to weekends, adding new shows to the roster, such as \u003cem>Designing Women\u003c/em> and \u003cem>Friends\u003c/em>, as well as one of her original works—\u003cem>Shit and Champagne\u003c/em>. In 2014, they got word that Rebel was closing for good. And that’s when the idea of co-owning a venue of their own began to take shape. On New Year’s Day, 2015—after months of negotiating for and remodeling the space at 298 11th Street— they opened the doors to the public, and Oasis was born.\u003c/p>\n\u003cfigure id=\"attachment_13899059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13899059 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch.jpg 959w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cindy Goldfield, D’Arcy Drollinger, and Steven LeMay celebrating Drollinger’s birthday on the cabaret stage at Oasis. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A hybrid cabaret, theater, dance club and bar, Oasis is set apart from its fellow gay clubs and spaces partially by an attention to production elements. These include in-house technicians to run the shows, and a sturdy, theater-quality stage that, as Drollinger terms, “elevates” the experience for performers, who may be more accustomed to the glare of bare bulbs and makeshift platforms. While audiences stayed at home this past year, Drollinger added the equipment necessary to stream live performances from the space—a practice he intends to keep once live audiences return. Streaming is partly to keep the “clubhouse” accessible to a larger audience, and partly because Drollinger leaned hard into broadcasting during the shutdown, founding a subscriber-based streaming platform called Oasis TV. In addition to airing archival video of his signature staged parodies, Drollinger tapped a talent pool of local queens to create or guest star in a variety of talk shows, drag shows, makeup shows, cooking shows, and other original content created with a playful, queer emphasis.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I know that there are other gay TV networks like Logo,” Drollinger says about the experiment. “(But) I feel like there isn’t really a drag-centered television network.” By filling that niche, Drollinger hopes that Oasis TV will outlive its pandemic origins and remain a home for the drag community both at home and further afield. “I’d like to expand it into a full network,” he enthuses. “I feel like it’s a great asset and it really does have a lot of possibility.”\u003c/p>\n\u003cp>But despite Drollinger’s creativity in creating platforms and income streams—such as the bespoke drag queen dinner delivery service, \u003ca href=\"https://www.sfoasis.com/meals-on-heels\" rel=\"noopener noreferrer\" target=\"_blank\">Meals on Heels\u003c/a>—Oasis was by no means spared the financial stresses that the pandemic wrought across San Francisco nightlife. Even the unanticipated windfall of their 11th hour telethon in early March, during which they raised over $268,000, has already mostly been spent on debts incurred during the pandemic, and on reopening costs. As Drollinger points out, there are government programs at the federal and the local level designed to help small businesses and entertainment venues to survive, but most of the money earmarked for them has yet to be distributed.\u003c/p>\n\u003cp>[aside postID='arts_13898639']“It’s crazy…we’re going to reopen before we get any money that was supposed to be here to help us get through this,” comments Drollinger. “I know there’s lots of red tape and so many people involved, but I feel like nobody really understands how hand-to-mouth we are in this business.”\u003c/p>\n\u003cp>Financial and operational struggles aside, Drollinger is thrilled to be able to open Oasis to a full capacity Pride crowd this weekend and beyond. Although scrambling to fill the calendar while simultaneously hiring back staff and renovating to reopen has been hectic, Drollinger promises some surprises on the horizon. In the immediate future, Oasis favorite Matthew Martin will star in a new original show penned by Michael Phillis called \u003cem>The Hand That Rocks the Crawford\u003c/em>, which reimagines female-led thrillers such as \u003cem>Basic Instinct\u003c/em> and \u003cem>The Hand That Rocks the Cradle\u003c/em> as starring Joan Crawford. Princess will continue weekly, and Drag King revue \u003cem>Dandy\u003c/em> will strut it out on July 3.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All in all, Drollinger is optimistic for the future of Oasis and for nightlife in general. “For the most part I think people—maybe even more so—are going to want to come out, and if history serves us, it’s possibly going to be a roaring ’20s situation,” he remarks. “We’ll see…but everything seems to be pointing to everybody’s sort of desperation to be together again.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I Zoom into D’Arcy Drollinger’s world, an audible sound check drifts in from the next room, folks wander in and out of the frame to ask logistical questions, and Drollinger himself looks like he’s been awake for days, though his disposition is sunny and enthusiastic. After a year and a half of the pandemic—the last seven months of which his queer nightlife hub \u003ca href=\"https://www.sfoasis.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Oasis\u003c/a> has been completely closed—the grand reopening of Oasis, scheduled for Pride weekend, is finally just around the corner.\u003c/p>\n\u003cp>Opening with the Drag Disco party Princess feels especially meaningful, as it was formerly a staple of the Stud collective at their former Ninth St. digs, which shuttered just over a year ago. With the Stud collective still venue-less, it’s a symbolic melding of two beloved nightlife staples to usher in a new era of what Drollinger is calling “Oasis 2.0.” After a pandemic-induced realization that Oasis’ past programming (and ticket prices) might have attracted a somewhat insular group of regulars, Drollinger’s new vision includes more accessible pricing structures, a wider range of parties and producers, and the idea that Oasis could be—should be—a “clubhouse” for all.\u003c/p>\n\u003cp>“I feel a responsibility,” he elaborates. “Because we’re coming out of this pandemic where I feel like certain people don’t really have a home… as performers and audience members are gone. And I want to be here for them.”\u003c/p>\n\u003cfigure id=\"attachment_13899061\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-800x536.jpg\" alt=\"\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger living it up at Oasis. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if Oasis’ very existence hadn’t been threatened by the multiple crises that COVID-19 brought to the forefront, it would have been a hectic year for Drollinger. In February of 2020, he assumed full ownership of the business after co-owner Heklina sold back her stake and moved more or less full-time to Palm Springs.\u003c/p>\n\u003cp>The two began working regularly together 10 years ago while Heklina was managing Rebel, a bar on Market Street. Offered a Tuesday night slot, Drollinger decided to put on parodies of \u003cem>Sex in the City\u003c/em>—inspired in part by Heklina’s success with her popular \u003cem>Golden Girls \u003c/em>series. The show was a hit, and gradually Drollinger moved from Tuesdays to weekends, adding new shows to the roster, such as \u003cem>Designing Women\u003c/em> and \u003cem>Friends\u003c/em>, as well as one of her original works—\u003cem>Shit and Champagne\u003c/em>. In 2014, they got word that Rebel was closing for good. And that’s when the idea of co-owning a venue of their own began to take shape. On New Year’s Day, 2015—after months of negotiating for and remodeling the space at 298 11th Street— they opened the doors to the public, and Oasis was born.\u003c/p>\n\u003cfigure id=\"attachment_13899059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13899059 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch.jpg 959w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cindy Goldfield, D’Arcy Drollinger, and Steven LeMay celebrating Drollinger’s birthday on the cabaret stage at Oasis. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A hybrid cabaret, theater, dance club and bar, Oasis is set apart from its fellow gay clubs and spaces partially by an attention to production elements. These include in-house technicians to run the shows, and a sturdy, theater-quality stage that, as Drollinger terms, “elevates” the experience for performers, who may be more accustomed to the glare of bare bulbs and makeshift platforms. While audiences stayed at home this past year, Drollinger added the equipment necessary to stream live performances from the space—a practice he intends to keep once live audiences return. Streaming is partly to keep the “clubhouse” accessible to a larger audience, and partly because Drollinger leaned hard into broadcasting during the shutdown, founding a subscriber-based streaming platform called Oasis TV. In addition to airing archival video of his signature staged parodies, Drollinger tapped a talent pool of local queens to create or guest star in a variety of talk shows, drag shows, makeup shows, cooking shows, and other original content created with a playful, queer emphasis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I know that there are other gay TV networks like Logo,” Drollinger says about the experiment. “(But) I feel like there isn’t really a drag-centered television network.” By filling that niche, Drollinger hopes that Oasis TV will outlive its pandemic origins and remain a home for the drag community both at home and further afield. “I’d like to expand it into a full network,” he enthuses. “I feel like it’s a great asset and it really does have a lot of possibility.”\u003c/p>\n\u003cp>But despite Drollinger’s creativity in creating platforms and income streams—such as the bespoke drag queen dinner delivery service, \u003ca href=\"https://www.sfoasis.com/meals-on-heels\" rel=\"noopener noreferrer\" target=\"_blank\">Meals on Heels\u003c/a>—Oasis was by no means spared the financial stresses that the pandemic wrought across San Francisco nightlife. Even the unanticipated windfall of their 11th hour telethon in early March, during which they raised over $268,000, has already mostly been spent on debts incurred during the pandemic, and on reopening costs. As Drollinger points out, there are government programs at the federal and the local level designed to help small businesses and entertainment venues to survive, but most of the money earmarked for them has yet to be distributed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s crazy…we’re going to reopen before we get any money that was supposed to be here to help us get through this,” comments Drollinger. “I know there’s lots of red tape and so many people involved, but I feel like nobody really understands how hand-to-mouth we are in this business.”\u003c/p>\n\u003cp>Financial and operational struggles aside, Drollinger is thrilled to be able to open Oasis to a full capacity Pride crowd this weekend and beyond. Although scrambling to fill the calendar while simultaneously hiring back staff and renovating to reopen has been hectic, Drollinger promises some surprises on the horizon. In the immediate future, Oasis favorite Matthew Martin will star in a new original show penned by Michael Phillis called \u003cem>The Hand That Rocks the Crawford\u003c/em>, which reimagines female-led thrillers such as \u003cem>Basic Instinct\u003c/em> and \u003cem>The Hand That Rocks the Cradle\u003c/em> as starring Joan Crawford. Princess will continue weekly, and Drag King revue \u003cem>Dandy\u003c/em> will strut it out on July 3.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All in all, Drollinger is optimistic for the future of Oasis and for nightlife in general. “For the most part I think people—maybe even more so—are going to want to come out, and if history serves us, it’s possibly going to be a roaring ’20s situation,” he remarks. “We’ll see…but everything seems to be pointing to everybody’s sort of desperation to be together again.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]“T[/dropcap]hings have changed.” These were the resigned words of Scott Peterson, general manager of San Francisco’s leather and cruise bar \u003ca href=\"https://www.powerhousebar.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Powerhouse\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s been nearly two years since Peterson and his patrons have been able to celebrate Pride in proper style, with cruising, a wet underwear contest and, of course, lots of dancing and mingling. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Although Governor Gavin Newsom announced a plan to \u003ca href=\"https://www.kqed.org/news/11874669/californias-june-15-reopening-will-scrap-social-distancing-and-capacity-requirements\" target=\"_blank\" rel=\"noopener noreferrer\">remove most COVID restrictions\u003c/a> on June 15, Peterson was wary and decided not to plan a big event. Several uncertainties hung in the air: Would Pride celebrants be ready to party in a crowded space after a year of distancing? And would tourism return to San Francisco? Then there were masks—after suggesting that California will lift its mask mandate on June 15, the \u003ca href=\"https://abc7news.com/california-to-end-covid-mask-mandates-face-requirement-coronavirus-guidelines-newsom/10620733/\" target=\"_blank\" rel=\"noopener noreferrer\">governor clarified\u003c/a> that may not be the case for all indoor activities. That left Peterson hesitant. “It would be nice to see everybody smile,” he said, adding, “I’m not even sure if we’ll be able to do the Folsom Street Fair in September.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over a year of the pandemic has left its mark on Powerhouse and its manager. The bar is weighed down by a sizable debt, and requirements like table service and masking have dulled its dive bar vibe. Though businesses will be able to operate at 100% capacity come June 15, Peterson was reluctant to promise a party that might not come together.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While some in-person celebrations are still happening this year, 2021 will be a year of adjustment for LGBTQ+ artists, performers and events presenters, for whom June is typically the busiest month of the year.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13874543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874543\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/sf-pride-800x450.jpg\" alt=\"People march during the San Francisco gay pride parade in San Francisco, California on June, 24, 2018\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People march during the San Francisco gay pride parade in San Francisco, California on June, 24, 2018. \u003ccite>(Josh Edelson/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The main \u003ca href=\"https://sfpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Pride\u003c/a> celebrations are going to be muted this year. Billed as “the best version of what is possible at this time,” there will be no centerpiece Pride parade, and the planned Pride Expo—which would have replaced the annual street celebration in the Civic Center—has been cancelled due to the uncertainty surrounding changing COVID restrictions. That leaves two film screenings in conjunction with the \u003ca href=\"https://www.frameline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Frameline Film Festival\u003c/a> at Oracle Park on June 11–12 and a Black Liberation Event in conjunction with the African American Art & Culture Complex on Juneteenth.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Having a truncated Pride two years running is a loss for the LGBTQ+ community. Peterson knows this firsthand: growing up in Minnesota, he clung to spaces that were accepting of LGBTQ+ identities. Even though it’s now decades later and many things have changed, it’s still necessary to have spaces for LGBTQ+ individuals to feel safe, seen and understood. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peterson regards Pride as a unique time of year, when people just seem happier, the city gripped by a special energy. “It’s a celebration of who we are, and in San Francisco we can do it better than anywhere else,” he said.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fortunately, some of that will still be happening in person. Community arts space SOMArts will offer a Pride Kickoff Party on June 23, highlighting the work of queer Black artists and featuring an art party with DJs on its back patio. \u003ca href=\"https://www.oaklandblackpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Black Pride\u003c/a> has a slate of in-person and virtual events planned throughout June, including a pub crawl and kickball tournament. On June 25, longtime Pride stalwart El Río will host an outdoor \u003c/span>\u003ca href=\"https://www.elriosf.com/calendar\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">T for T party\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> featuring trans and nonbinary DJs and performance artists, with seating limited to three two-hour time slots. And on June 26, it will also host an outdoor \u003c/span>\u003ca href=\"https://www.facebook.com/mangosf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Mango SF\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> party. [aside postid='arts_13894499']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Devon Devine, co-founder and producer of \u003ca href=\"https://hardfrench.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hard French\u003c/a>—a raging dance party that styles itself as a home for all of those who feel left out of mainstream Pride—is embracing 2021 as a year of slow emergence after collective trauma. “The pandemic stripped us of our ability to celebrate and give our gift back to the community, which was awful,” he said. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a healing thing. I’m in a state of re-entering the world, and that’s a lot to take on,” he added. “I’m relearning social skills, learning how to do an event again.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For months, Devine and his collaborators were wracked by indecision, uncertain of whether or not they’d try to do a major Hard French for Pride, or even if they could with such little clarity on what COVID restrictions would look like in June. He’s been experimenting with doing smaller, COVID-safe events, but that didn’t feel right for Pride. “A seated party with masks just wouldn’t feel like a special Pride party,” he said, adding that “it all really goes back to the dancing. We should be hard cruising, but right now we’re hard sitting.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like Peterson and many others, Devine sees the Folsom Street Fair in September, or even events this coming fall and winter, as more natural points at which to rev up LGBTQ+ celebrations to full blast. “We’re lucky to have multiple queer high holy days,” he said. “Folsom is where my brain is at right now.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For event presenters like him, there are benefits in having more time to plan. “We’ve all been working in silos for a year,” Devine explained. “We haven’t been comparing notes or seeing each other, and we’ve had to be a lot more intentional about communication. We need time to re-establish those connections and learn to work together again.” That means waiting until 2022 for another Pride Hard French.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]O[/dropcap]ther events are moving ahead at full steam—albeit virtually. Sean Dorsey, artistic director and founder of \u003ca href=\"https://freshmeatproductions.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Productions\u003c/a>, a producer of performance art by trans and gender-nonconforming individuals, is celebrating 20 years of the Fresh Meat Festival with a bigger lineup than ever before. As living with COVID has become more a fact of life, Dorsey’s stance on virtual Pride changed. [aside postid='arts_13882546']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Last year, the idea of doing Pride online two years in a row would have generated a lot of sad-faced emojis,” he said. “I’ve been processing it a month at a time, and while it’s hard to miss connecting with communities for so long, I’m glad to still be investing in artists and commissioning new work.” An online event has its upsides: Dorsey said that this year Fresh Meat Productions will present more national artists than even before. The festival will run on two consecutive weekends, June 18–27, with a full festival program and free ticket registration \u003c/span>\u003ca href=\"https://freshmeatproductions.org/20th-anniversary-fresh-meat-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">available online\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on May 28.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The \u003ca href=\"https://festival2021.qwocmap.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Women of Color Film Festival\u003c/a> has followed a similar COVID trajectory. A project of the Queer Women of Color Media Arts Project, which came together in 2000, the festival is now in its 17th year. In 2020 it was able to pivot to an all-streaming schedule at the last minute, resulting in a worldwide audience several times larger than what it could host in its usual location, Brava Theater Center. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We were blown away,” said founding executive/artistic director Madeleine Lim, noting that last year’s festival was filled with “unexpected joys and thrills.”\u003c/span>\u003c/p>\n\u003cp>https://vimeo.com/540408520\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This year the Queer Women of Color Film Festival is coming back stronger than ever with 19 new short films. The festival will run June 11–13, with \u003c/span>\u003ca href=\"https://festival2021.qwocmap.org/\">\u003cspan style=\"font-weight: 400\">free ticket registration\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> required beforehand. Lim and her team are trying to compensate for inequities caused by COVID shutdowns. The festival has undertaken outreach efforts to make the films accessible to those who have been left behind by the digital divide—such as older viewers who may not have the technological know-how to view streaming content—a shortcoming that the festival was not able to address in the hasty 2020 pivot to streaming.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There will be other virtual spaces to celebrate. Drag festival \u003c/span>\u003ca href=\"https://www.oaklash.com/lineup\">\u003cspan style=\"font-weight: 400\">Oaklash\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is happening mostly online through May 31, and, in addition to a dozens of performances, it includes panels about disability justice, housing and harm reduction. The Transgender District will host two Zoom panels on the state of trans visibility. The one on June 7 will focus on politics, policy and social justice, with panelists Sarah McBride, Andrea Jenkins, Chase Strangio, Honey Mahogany and Mariah Moore (moderated by Imara Jones); and one on June 16 will focus on Hollywood, with panelists TS Madison, Zoey Luna, Amiyah Scott, Ian Harvie and Nava Mau (moderated by Raquel Willis). The \u003c/span>\u003ca href=\"https://www.frameline.org/year-round/frameline-blog/frameline45-festival-dates-announced\">\u003cspan style=\"font-weight: 400\">Frameline LGBT Film Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will run for an unprecedented 18 days, June 10–27, with a mixture of over 50 outdoor, drive-in and streaming films. [aside postid='arts_13896684']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With vaccination rates climbing and COVID infections falling, it’s tempting to hope for a Pride that resembles the pre-COVID normal, but it’s clear that this will be a transitional year—not quite 2019, but not 2020 either. For Devine, this story of misfortunate followed by slow, steady reemergence is typical of how the queer community deals with setbacks. He noted that queer creators have had a whole year to discover new strengths and new sides to their creativity. “I won a literary award this year,” said Devine, “and I never would have seen myself as a writer without the pandemic.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I feel in my gut like we’re on the brink of a queer renaissance right now,” Devine said. June 2021 won’t be quite the Pride he’s hoping for, but it will be the beginning of something major. “Down the line, all these venues are going to be the sites of some amazing experiences.”\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction: \u003c/strong>\u003c/em>\u003cem>This story listed the original location of the Queer Women of Color Film Festival as the Yerba Buena Center for the Arts. In fact, it is the Brava Theater Center. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">“T\u003c/span>\u003c/p>\u003cp>hings have changed.” These were the resigned words of Scott Peterson, general manager of San Francisco’s leather and cruise bar \u003ca href=\"https://www.powerhousebar.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Powerhouse\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s been nearly two years since Peterson and his patrons have been able to celebrate Pride in proper style, with cruising, a wet underwear contest and, of course, lots of dancing and mingling. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Although Governor Gavin Newsom announced a plan to \u003ca href=\"https://www.kqed.org/news/11874669/californias-june-15-reopening-will-scrap-social-distancing-and-capacity-requirements\" target=\"_blank\" rel=\"noopener noreferrer\">remove most COVID restrictions\u003c/a> on June 15, Peterson was wary and decided not to plan a big event. Several uncertainties hung in the air: Would Pride celebrants be ready to party in a crowded space after a year of distancing? And would tourism return to San Francisco? Then there were masks—after suggesting that California will lift its mask mandate on June 15, the \u003ca href=\"https://abc7news.com/california-to-end-covid-mask-mandates-face-requirement-coronavirus-guidelines-newsom/10620733/\" target=\"_blank\" rel=\"noopener noreferrer\">governor clarified\u003c/a> that may not be the case for all indoor activities. That left Peterson hesitant. “It would be nice to see everybody smile,” he said, adding, “I’m not even sure if we’ll be able to do the Folsom Street Fair in September.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over a year of the pandemic has left its mark on Powerhouse and its manager. The bar is weighed down by a sizable debt, and requirements like table service and masking have dulled its dive bar vibe. Though businesses will be able to operate at 100% capacity come June 15, Peterson was reluctant to promise a party that might not come together.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While some in-person celebrations are still happening this year, 2021 will be a year of adjustment for LGBTQ+ artists, performers and events presenters, for whom June is typically the busiest month of the year.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13874543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874543\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/sf-pride-800x450.jpg\" alt=\"People march during the San Francisco gay pride parade in San Francisco, California on June, 24, 2018\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People march during the San Francisco gay pride parade in San Francisco, California on June, 24, 2018. \u003ccite>(Josh Edelson/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The main \u003ca href=\"https://sfpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Pride\u003c/a> celebrations are going to be muted this year. Billed as “the best version of what is possible at this time,” there will be no centerpiece Pride parade, and the planned Pride Expo—which would have replaced the annual street celebration in the Civic Center—has been cancelled due to the uncertainty surrounding changing COVID restrictions. That leaves two film screenings in conjunction with the \u003ca href=\"https://www.frameline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Frameline Film Festival\u003c/a> at Oracle Park on June 11–12 and a Black Liberation Event in conjunction with the African American Art & Culture Complex on Juneteenth.\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\">Having a truncated Pride two years running is a loss for the LGBTQ+ community. Peterson knows this firsthand: growing up in Minnesota, he clung to spaces that were accepting of LGBTQ+ identities. Even though it’s now decades later and many things have changed, it’s still necessary to have spaces for LGBTQ+ individuals to feel safe, seen and understood. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peterson regards Pride as a unique time of year, when people just seem happier, the city gripped by a special energy. “It’s a celebration of who we are, and in San Francisco we can do it better than anywhere else,” he said.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fortunately, some of that will still be happening in person. Community arts space SOMArts will offer a Pride Kickoff Party on June 23, highlighting the work of queer Black artists and featuring an art party with DJs on its back patio. \u003ca href=\"https://www.oaklandblackpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Black Pride\u003c/a> has a slate of in-person and virtual events planned throughout June, including a pub crawl and kickball tournament. On June 25, longtime Pride stalwart El Río will host an outdoor \u003c/span>\u003ca href=\"https://www.elriosf.com/calendar\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">T for T party\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> featuring trans and nonbinary DJs and performance artists, with seating limited to three two-hour time slots. And on June 26, it will also host an outdoor \u003c/span>\u003ca href=\"https://www.facebook.com/mangosf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Mango SF\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> party. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Devon Devine, co-founder and producer of \u003ca href=\"https://hardfrench.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hard French\u003c/a>—a raging dance party that styles itself as a home for all of those who feel left out of mainstream Pride—is embracing 2021 as a year of slow emergence after collective trauma. “The pandemic stripped us of our ability to celebrate and give our gift back to the community, which was awful,” he said. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a healing thing. I’m in a state of re-entering the world, and that’s a lot to take on,” he added. “I’m relearning social skills, learning how to do an event again.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For months, Devine and his collaborators were wracked by indecision, uncertain of whether or not they’d try to do a major Hard French for Pride, or even if they could with such little clarity on what COVID restrictions would look like in June. He’s been experimenting with doing smaller, COVID-safe events, but that didn’t feel right for Pride. “A seated party with masks just wouldn’t feel like a special Pride party,” he said, adding that “it all really goes back to the dancing. We should be hard cruising, but right now we’re hard sitting.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like Peterson and many others, Devine sees the Folsom Street Fair in September, or even events this coming fall and winter, as more natural points at which to rev up LGBTQ+ celebrations to full blast. “We’re lucky to have multiple queer high holy days,” he said. “Folsom is where my brain is at right now.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For event presenters like him, there are benefits in having more time to plan. “We’ve all been working in silos for a year,” Devine explained. “We haven’t been comparing notes or seeing each other, and we’ve had to be a lot more intentional about communication. We need time to re-establish those connections and learn to work together again.” That means waiting until 2022 for another Pride Hard French.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>ther events are moving ahead at full steam—albeit virtually. Sean Dorsey, artistic director and founder of \u003ca href=\"https://freshmeatproductions.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Productions\u003c/a>, a producer of performance art by trans and gender-nonconforming individuals, is celebrating 20 years of the Fresh Meat Festival with a bigger lineup than ever before. As living with COVID has become more a fact of life, Dorsey’s stance on virtual Pride changed. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Last year, the idea of doing Pride online two years in a row would have generated a lot of sad-faced emojis,” he said. “I’ve been processing it a month at a time, and while it’s hard to miss connecting with communities for so long, I’m glad to still be investing in artists and commissioning new work.” An online event has its upsides: Dorsey said that this year Fresh Meat Productions will present more national artists than even before. The festival will run on two consecutive weekends, June 18–27, with a full festival program and free ticket registration \u003c/span>\u003ca href=\"https://freshmeatproductions.org/20th-anniversary-fresh-meat-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">available online\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on May 28.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The \u003ca href=\"https://festival2021.qwocmap.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Women of Color Film Festival\u003c/a> has followed a similar COVID trajectory. A project of the Queer Women of Color Media Arts Project, which came together in 2000, the festival is now in its 17th year. In 2020 it was able to pivot to an all-streaming schedule at the last minute, resulting in a worldwide audience several times larger than what it could host in its usual location, Brava Theater Center. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We were blown away,” said founding executive/artistic director Madeleine Lim, noting that last year’s festival was filled with “unexpected joys and thrills.”\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">This year the Queer Women of Color Film Festival is coming back stronger than ever with 19 new short films. The festival will run June 11–13, with \u003c/span>\u003ca href=\"https://festival2021.qwocmap.org/\">\u003cspan style=\"font-weight: 400\">free ticket registration\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> required beforehand. Lim and her team are trying to compensate for inequities caused by COVID shutdowns. The festival has undertaken outreach efforts to make the films accessible to those who have been left behind by the digital divide—such as older viewers who may not have the technological know-how to view streaming content—a shortcoming that the festival was not able to address in the hasty 2020 pivot to streaming.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There will be other virtual spaces to celebrate. Drag festival \u003c/span>\u003ca href=\"https://www.oaklash.com/lineup\">\u003cspan style=\"font-weight: 400\">Oaklash\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is happening mostly online through May 31, and, in addition to a dozens of performances, it includes panels about disability justice, housing and harm reduction. The Transgender District will host two Zoom panels on the state of trans visibility. The one on June 7 will focus on politics, policy and social justice, with panelists Sarah McBride, Andrea Jenkins, Chase Strangio, Honey Mahogany and Mariah Moore (moderated by Imara Jones); and one on June 16 will focus on Hollywood, with panelists TS Madison, Zoey Luna, Amiyah Scott, Ian Harvie and Nava Mau (moderated by Raquel Willis). The \u003c/span>\u003ca href=\"https://www.frameline.org/year-round/frameline-blog/frameline45-festival-dates-announced\">\u003cspan style=\"font-weight: 400\">Frameline LGBT Film Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will run for an unprecedented 18 days, June 10–27, with a mixture of over 50 outdoor, drive-in and streaming films. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With vaccination rates climbing and COVID infections falling, it’s tempting to hope for a Pride that resembles the pre-COVID normal, but it’s clear that this will be a transitional year—not quite 2019, but not 2020 either. For Devine, this story of misfortunate followed by slow, steady reemergence is typical of how the queer community deals with setbacks. He noted that queer creators have had a whole year to discover new strengths and new sides to their creativity. “I won a literary award this year,” said Devine, “and I never would have seen myself as a writer without the pandemic.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I feel in my gut like we’re on the brink of a queer renaissance right now,” Devine said. June 2021 won’t be quite the Pride he’s hoping for, but it will be the beginning of something major. “Down the line, all these venues are going to be the sites of some amazing experiences.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction: \u003c/strong>\u003c/em>\u003cem>This story listed the original location of the Queer Women of Color Film Festival as the Yerba Buena Center for the Arts. In fact, it is the Brava Theater Center. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While the chance to safely attend physical dance parties remains on the horizon, this weekend San Francisco-based nonprofit and experimental art space The Lab will offer the next best thing: a 12-hour Dance A Thon fundraiser.\u003c/p>\n\u003cp>The event features DJs and artists Moor Mother, Brontez Purnell, William Basinski & Preston Wendel, Matmos, Dan Deacon, The Garbage Man (Grouper’s Liz Harris), Deerhoof’s Greg Saunier with Sarah Harris, emcees Peaches Christ, Fauxnique, Marvin K. White, and more. \u003c/p>\n\u003cp>“Funds raised during the Dance A Thon will help The Lab continue to provide direct financial relief to artists,” said Executive Director Dena Beard in a statement, “while offering all of us a chance for celebration and connectivity.” According to Beard, The Lab’s Dance A Thon was inspired by the Dance Marathons of the 1930s, which allowed emotional reprieve amidst the Great Depression.\u003c/p>\n\u003cp>With 50 minutes of dancing followed by a 10 minute break on the hour, the event will run from 7:30pm–7:30am with a mix of DJs, performers, and other artists. Dancers who would like to participate must first set up a pledge page and begin fundraising, much like a school walk-a-thon; they’ll receive a link to join the livestream after raising a minimum of $75. The event is free for the public to watch online. \u003c/p>\n\u003cp>In partnership with Bandcamp, The Lab will offer multiple prizes for dancers throughout the event. A $50 Bandcamp gift card will go to the Best Dancer, determined by the audience. A $150 Bandcamp gift card will go to the Highest Fundraiser, and a $150 Bandcamp gift card will go to the Last Dancer Left Standing. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Lab’s Dance A Thon starts at 7:30pm PST on April 10 and runs until 7:30am PST on Sunday, April 11. \u003ca href=\"https://www.thelab.org/projects/danceathon\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the chance to safely attend physical dance parties remains on the horizon, this weekend San Francisco-based nonprofit and experimental art space The Lab will offer the next best thing: a 12-hour Dance A Thon fundraiser.\u003c/p>\n\u003cp>The event features DJs and artists Moor Mother, Brontez Purnell, William Basinski & Preston Wendel, Matmos, Dan Deacon, The Garbage Man (Grouper’s Liz Harris), Deerhoof’s Greg Saunier with Sarah Harris, emcees Peaches Christ, Fauxnique, Marvin K. White, and more. \u003c/p>\n\u003cp>“Funds raised during the Dance A Thon will help The Lab continue to provide direct financial relief to artists,” said Executive Director Dena Beard in a statement, “while offering all of us a chance for celebration and connectivity.” According to Beard, The Lab’s Dance A Thon was inspired by the Dance Marathons of the 1930s, which allowed emotional reprieve amidst the Great Depression.\u003c/p>\n\u003cp>With 50 minutes of dancing followed by a 10 minute break on the hour, the event will run from 7:30pm–7:30am with a mix of DJs, performers, and other artists. Dancers who would like to participate must first set up a pledge page and begin fundraising, much like a school walk-a-thon; they’ll receive a link to join the livestream after raising a minimum of $75. The event is free for the public to watch online. \u003c/p>\n\u003cp>In partnership with Bandcamp, The Lab will offer multiple prizes for dancers throughout the event. A $50 Bandcamp gift card will go to the Best Dancer, determined by the audience. A $150 Bandcamp gift card will go to the Highest Fundraiser, and a $150 Bandcamp gift card will go to the Last Dancer Left Standing. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Lab’s Dance A Thon starts at 7:30pm PST on April 10 and runs until 7:30am PST on Sunday, April 11. \u003ca href=\"https://www.thelab.org/projects/danceathon\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There have been a lot of great socially distant drag shows in San Francisco recently, so it’s only fitting that RuPaul’s queens arrive in the Bay Area for the first time since the pandemic. The Halloween special Drive ‘N Drag goes into the afterlife, with the premise that they’ve been summoned for a terrifying and fierce performance filled with blood and gory makeup.\u003c/p>\n\u003cp>This is the first live tour for the queens since their shows at Caesar’s Palace in Las Vegas ended in March.\u003c/p>\n\u003cp>Drive ‘N Drag takes place at the Southland Mall in Hayward and features seven performers from past seasons of \u003cem>RuPaul’s Drag Race\u003c/em>, including some of the show’s favorites, including Asia O’Hara, Aquaria, Yvie Oddly and Vanessa Vanjie. Expect a live show with big jumbotron LED screens and broadcasted sound from both the stage and via FM radio, just like for drive-in movies.\u003c/p>\n\u003cp>https://www.instagram.com/p/CGOqSxqAAQJ/\u003c/p>\n\u003cp>Social distancing protocols will be in effect, and attendees are supposed to stay in their cars during the show. The 45-minute show is quickly selling out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/CGK4jhvg8zU/\u003c/p>\n\u003cp>It’s part of a tour that has already been through Philadelphia and Boston. Showtimes are Oct. 16-18, with general admission and VIP options. For more information on ticket pricing and showtimes, \u003ca href=\"https://vossevents.electrostub.com/event.cfm?showTimingID=219724\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/U5KxcawrygY\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There have been a lot of great socially distant drag shows in San Francisco recently, so it’s only fitting that RuPaul’s queens arrive in the Bay Area for the first time since the pandemic. The Halloween special Drive ‘N Drag goes into the afterlife, with the premise that they’ve been summoned for a terrifying and fierce performance filled with blood and gory makeup.\u003c/p>\n\u003cp>This is the first live tour for the queens since their shows at Caesar’s Palace in Las Vegas ended in March.\u003c/p>\n\u003cp>Drive ‘N Drag takes place at the Southland Mall in Hayward and features seven performers from past seasons of \u003cem>RuPaul’s Drag Race\u003c/em>, including some of the show’s favorites, including Asia O’Hara, Aquaria, Yvie Oddly and Vanessa Vanjie. Expect a live show with big jumbotron LED screens and broadcasted sound from both the stage and via FM radio, just like for drive-in movies.\u003c/p>\u003c/p>\u003c/div>",
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"title": "What's On Your Ballot?: Rexy Tapia, Activist and Drag Performer",
"headTitle": "What’s On Your Ballot?: Rexy Tapia, Activist and Drag Performer | KQED",
"content": "\u003cp>\u003ci data-stringify-type=\"italic\">In 2020, the United States faces an election like no other. Citizens will vote in the midst of a global pandemic, severe climate change, an uprising for racial justice and an administration that has eroded the norms of democracy. In ‘\u003ca href=\"https://www.kqed.org/arts/tag/whats-on-your-ballot\" target=\"_blank\" rel=\"noopener noreferrer\">What’s on Your Ballot\u003c/a>,’ KQED checks in with ten different artists, activists and cultural figures about the issues on their minds and their hopes for the country.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>or \u003ca href=\"https://www.kqed.org/arts/13840309/for-the-one-and-only-rexy-the-best-is-yet-to-come\" target=\"_blank\" rel=\"noopener noreferrer\">Rexy Tapia\u003c/a>, a crucial aspect of the fall election is who gets to turn in a ballot. The activist and performer grew up in Tijuana and moved to San Francisco at the age of 11, graduating from Mission High School in 2015. Tapia is a legal resident of the United States, but not a citizen, which means she’s not allowed to vote on anything besides some local measures.\u003c/p>\n\u003cp>So it’s no surprise that the co-founder of the Bay Area Queer Nightlife Coalition, who fought for the safety of her fellow trans and gender non-conforming students at Mission High, is keenly interested in this fall’s California ballot measures that would expand voting rights—specifically, to young people and to individuals on parole.\u003c/p>\n\u003cp>The four-time host of the Trans March stage often uses drag to make her political points, recently appearing in an online commemoration of the Compton’s Cafeteria uprising. But Tapia’s performance praxis actually started back in high school, with her early show “The Rexy Project,” which employed drag to foster dialogue around race, gender, and immigration—work she continued with Grace Towers in \u003ca href=\"https://www.kqed.org/arts/13859216/dragtivism-teaches-lgbtq-history-and-empowerment-with-rhinestones-and-false-lashes\" target=\"_blank\" rel=\"noopener noreferrer\">the pair’s 2017 “DragTivism” conference\u003c/a>.\u003c/p>\n\u003cp>No matter what happens Nov. 3, Tapia prescribes compassion to make it through the next four years.\u003cem>—Caitlin Donohue\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>As we head into the election, what do you make of the political climate of the United States today?\u003c/strong>\u003c/p>\n\u003cp>Everyone is doing some sort of campaign, whether they’re joining \u003ca href=\"https://www.dragoutthevote2020.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Drag Out the Vote\u003c/a>, to [politically active] ballroom houses, to creating makeup looks inspired to attract attention and tell people to vote. It is that crucial right now. We know what four years of the Trump presidency have already done, and what he can continue to do.\u003c/p>\n\u003cfigure id=\"attachment_13887665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/012_KQEDArts_ElectionPortraits_RexyAmaral_10072020-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/012_KQEDArts_ElectionPortraits_RexyAmaral_10072020-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/012_KQEDArts_ElectionPortraits_RexyAmaral_10072020-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/012_KQEDArts_ElectionPortraits_RexyAmaral_10072020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/012_KQEDArts_ElectionPortraits_RexyAmaral_10072020-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/012_KQEDArts_ElectionPortraits_RexyAmaral_10072020-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/012_KQEDArts_ElectionPortraits_RexyAmaral_10072020.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rexy Tapia: ‘With climate change and the policing of women’s bodies and the attacks against trans people, there might not even be a next 20 years for kids to live their lives if we don’t change now.’ \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Especially after losing Ruth Bader Ginsburg, if we don’t act, there’s not going to be a future—for our younger siblings, our nieces and nephews. With climate change and the policing of women’s bodies and the attacks against trans people, there might not even be a next 20 years for kids to live their lives if we don’t change now.\u003c/p>\n\u003cp>I do think the pandemic has helped open people’s minds. We’re seeing other countries opening up and returning to normal—but the United States isn’t, and it’s because of our leadership. Right now, people have more time to be at home, to do research, to see the news, to see on their social media how important it is to change things now. We don’t have all our everyday distractions to keep us away from those things.\u003c/p>\n\u003cp>\u003cstrong>It’s easy to feel ground down right now, and I think a lot of people are struggling with why they should participate in our current political system at all. If a young person says, “I’m not going to vote in this election. It doesn’t matter. The system is broken,” what’s your most compelling argument against that?\u003c/strong>\u003c/p>\n\u003cp>I think people take voting for granted. People are like, “Yeah, whatever. The system’s broken. [I’m not going to vote.]” But a lot of them don’t see how their actions are affecting people they really love.\u003c/p>\n\u003cp>I always say the best way to talk to someone is to give them a face to the cause. [As a legal resident,] I can vote in some local measures, but I can’t vote in our presidential election. I don’t have my citizenship yet, and I don’t know if I’m going to be able to get citizenship. As someone here on asylum, I don’t even know if going back to my home is going to be safe for me.\u003c/p>\n\u003cfigure id=\"attachment_13887667\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_RexyAmaral_10072020.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_RexyAmaral_10072020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_RexyAmaral_10072020-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_RexyAmaral_10072020-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rexy Tapia: ‘We need to actively value the lives of Black trans women, Brown trans women, people in detention centers, people in prison. We need to show compassion.’ \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think a lot of people are like, “You’re choosing between two evils, what’s the point?” The point is that sometimes you’ve got to make a difficult decision to choose the lesser of two evils so you have a little more time to create that change. With Trump, we don’t know how much longer we’re going to have before he starts a war, before he runs our country into the ground. But with Biden, we can hold off that immediate threat, and we can have four years to build a national consciousness. And to continue to spread education so that we can vote for someone who’s not the lesser of two evils, someone who is going to help change the world.\u003c/p>\n\u003cp>It’s little bit by little bit that change happens. Rome wasn’t built in a day, and we’re certainly not going to take it down in a day.\u003c/p>\n\u003cp>\u003cstrong>Moving past the presidential election, what are the items on California and San Francisco ballots this fall that you think that voters need to have their eye on? \u003c/strong>\u003c/p>\n\u003cp>These issues are really intersectional—starting with \u003ca href=\"https://www.kqed.org/voterguide/proposition-18-voting-17-year-olds\" target=\"_blank\" rel=\"noopener noreferrer\">Prop. 18\u003c/a>, which would allow 17-year-olds who would be 18 by the next election to register to vote and to start voting on early measures. We say the youth are the future; why not give them more of an ability to create that change? What could be happening now if [younger people] had been able to vote in the 2016 election? Would we even have Trump as the president, or would [his 2016 candidacy] just be a joke by now? Giving youth that power and privilege, uplifting their voices is vital to our movement and to liberation. [aside label=\"From KQED's California Voter Guide\" link1='https://www.kqed.org/voterguide/,All the State Props, All the Bay Area Measures' hero=https://ww2.kqed.org/app/uploads/2020/10/KQED-Election-2020-Aside-CA-Voter-Guide.png]\u003c/p>\n\u003cp>The other one that I really am hoping that people pay attention to is \u003ca href=\"https://www.kqed.org/voterguide/proposition-17-parole-vote\" target=\"_blank\" rel=\"noopener noreferrer\">Prop. 17\u003c/a>, which would restore voting rights to people on parole—people who have any kind of felony charges are kept from voting. If we look at who those people are, it’s predominantly Black and Brown people. We need to make it so that folks can vote so that we can start creating change.\u003c/p>\n\u003cp>The other one that’s very crucial is \u003ca href=\"https://www.kqed.org/voterguide/proposition-21-rent-control\" target=\"_blank\" rel=\"noopener noreferrer\">Prop. 21\u003c/a>, the initiative that would allow local governments to enact rent control on housing that has been occupied for over 15 years. I know what it’s like to have to move around and not have that solid foundation to create those lifelong friendships and focus on your studies. Rent control protects people of color, and immigrants specifically.\u003c/p>\n\u003cp>There’s also \u003ca href=\"https://www.kqed.org/voterguide/proposition-22-ab-5-gig-workers\" target=\"_blank\" rel=\"noopener noreferrer\">Prop. 22\u003c/a>, [\u003ca href=\"https://www.kqed.org/news/11839164/poll-voters-cool-to-measure-backed-by-uber-and-lyft\" target=\"_blank\" rel=\"noopener noreferrer\">which would classify rideshare app drivers as independent contractors\u003c/a>]. These are big corporations trying to hold us hostage, like when they \u003ca href=\"https://sfist.com/2020/08/12/as-california-labor-case-heads-for-appeal-uber-says-it-may-halt-operations-in-state/\" target=\"_blank\" rel=\"noopener noreferrer\">sent the message that they were going to close down [in California]\u003c/a> if the measure was passed—a very petty move.\u003c/p>\n\u003cp>And on the San Francisco ballot, I’m talking about \u003ca href=\"https://www.kqed.org/voterguide/election-2020-san-francisco-county-proposition-d\" target=\"_blank\" rel=\"noopener noreferrer\">Prop. D\u003c/a>, the measure that would create a board that would overlook the sheriff’s department. A lot of people were out at the [racial justice] marches, taking selfies. It’s time for everyone to solidify that work by voting to hold these people accountable who attack our communities. Holding the sheriff’s department accountable by creating a board is something we can do now, and then eventually work towards defunding the police.\u003c/p>\n\u003cp>It’s important for everyone to really get out there and vote. If not for you, do it for me; do it for the children who can’t vote yet. Maybe there’s that person in your neighborhood who can’t vote because of past felonies. Do it for the next four years, to continue with the fight.\u003c/p>\n\u003cp>\u003cstrong>How do you use your role as a performer to build political strength in your community?\u003c/strong>\u003c/p>\n\u003cp>Everyone is interested in drag in some capacity. If I’m in full drag and I stand on a busy street, at least a couple people are going to stop and take pictures—people are actually taking the time to pay attention to you. My drag mom Kylie Minono and Landa Lakes will stand in the Castro with signs that say “Drag Out The Vote” and be looking so glamorous and beautiful, and people stop, and they will register to vote, because they’re so fascinated by these glamazons standing in front of them.\u003c/p>\n\u003cfigure id=\"attachment_13887666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/006_KQEDArts_ElectionPortraits_RexyAmaral_10072020-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/006_KQEDArts_ElectionPortraits_RexyAmaral_10072020-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/006_KQEDArts_ElectionPortraits_RexyAmaral_10072020-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/006_KQEDArts_ElectionPortraits_RexyAmaral_10072020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/006_KQEDArts_ElectionPortraits_RexyAmaral_10072020-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/006_KQEDArts_ElectionPortraits_RexyAmaral_10072020-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/006_KQEDArts_ElectionPortraits_RexyAmaral_10072020.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rexy Tapia: ‘A lot of people were out at the [racial justice] marches, taking selfies. It’s time for everyone to solidify that work by voting to hold these people accountable who attack our communities.’ \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’re even seeing it in big-time media. Throughout the whole last season of \u003cem>RuPaul’s Drag Race\u003c/em>, it was all about getting people out to vote. In almost every drag show right now, performers are reminding people to vote. Drag is going to be political no matter what, so you may as well make the message clear.\u003c/p>\n\u003cp>\u003cstrong>After the election, no matter how it goes, what are your hopes and goals for this country and for the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>My hopes are that we start listening to people of color, specifically Black folks. That we, as a country, move toward creating justice and listening to First Nation people, Native people, Indigenous people. That’s something that we should have done in order to prevent many of the fires in California, specifically.\u003c/p>\n\u003cp>We need to have conversations with our problematic uncles and aunties who think trans women are just men dressing up to attack women. We need to actively value the lives of Black trans women, Brown trans women, people in detention centers, people in prison. We need to show compassion.\u003c/p>\n\u003cp>Beyond what happens in the next election, I hope we learn to have compassion and to listen and lift up voices that have been ignored, and put them on top.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This interview was edited for length and clarity. Learn more about Rexy Tapia \u003ca href=\"https://www.instagram.com/theoneandonlyrexy/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci data-stringify-type=\"italic\">In 2020, the United States faces an election like no other. Citizens will vote in the midst of a global pandemic, severe climate change, an uprising for racial justice and an administration that has eroded the norms of democracy. In ‘\u003ca href=\"https://www.kqed.org/arts/tag/whats-on-your-ballot\" target=\"_blank\" rel=\"noopener noreferrer\">What’s on Your Ballot\u003c/a>,’ KQED checks in with ten different artists, activists and cultural figures about the issues on their minds and their hopes for the country.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>or \u003ca href=\"https://www.kqed.org/arts/13840309/for-the-one-and-only-rexy-the-best-is-yet-to-come\" target=\"_blank\" rel=\"noopener noreferrer\">Rexy Tapia\u003c/a>, a crucial aspect of the fall election is who gets to turn in a ballot. The activist and performer grew up in Tijuana and moved to San Francisco at the age of 11, graduating from Mission High School in 2015. Tapia is a legal resident of the United States, but not a citizen, which means she’s not allowed to vote on anything besides some local measures.\u003c/p>\n\u003cp>So it’s no surprise that the co-founder of the Bay Area Queer Nightlife Coalition, who fought for the safety of her fellow trans and gender non-conforming students at Mission High, is keenly interested in this fall’s California ballot measures that would expand voting rights—specifically, to young people and to individuals on parole.\u003c/p>\n\u003cp>The four-time host of the Trans March stage often uses drag to make her political points, recently appearing in an online commemoration of the Compton’s Cafeteria uprising. But Tapia’s performance praxis actually started back in high school, with her early show “The Rexy Project,” which employed drag to foster dialogue around race, gender, and immigration—work she continued with Grace Towers in \u003ca href=\"https://www.kqed.org/arts/13859216/dragtivism-teaches-lgbtq-history-and-empowerment-with-rhinestones-and-false-lashes\" target=\"_blank\" rel=\"noopener noreferrer\">the pair’s 2017 “DragTivism” conference\u003c/a>.\u003c/p>\n\u003cp>No matter what happens Nov. 3, Tapia prescribes compassion to make it through the next four years.\u003cem>—Caitlin Donohue\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>As we head into the election, what do you make of the political climate of the United States today?\u003c/strong>\u003c/p>\n\u003cp>Everyone is doing some sort of campaign, whether they’re joining \u003ca href=\"https://www.dragoutthevote2020.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Drag Out the Vote\u003c/a>, to [politically active] ballroom houses, to creating makeup looks inspired to attract attention and tell people to vote. It is that crucial right now. We know what four years of the Trump presidency have already done, and what he can continue to do.\u003c/p>\n\u003cfigure id=\"attachment_13887665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/012_KQEDArts_ElectionPortraits_RexyAmaral_10072020-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/012_KQEDArts_ElectionPortraits_RexyAmaral_10072020-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/012_KQEDArts_ElectionPortraits_RexyAmaral_10072020-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/012_KQEDArts_ElectionPortraits_RexyAmaral_10072020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/012_KQEDArts_ElectionPortraits_RexyAmaral_10072020-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/012_KQEDArts_ElectionPortraits_RexyAmaral_10072020-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/012_KQEDArts_ElectionPortraits_RexyAmaral_10072020.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rexy Tapia: ‘With climate change and the policing of women’s bodies and the attacks against trans people, there might not even be a next 20 years for kids to live their lives if we don’t change now.’ \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Especially after losing Ruth Bader Ginsburg, if we don’t act, there’s not going to be a future—for our younger siblings, our nieces and nephews. With climate change and the policing of women’s bodies and the attacks against trans people, there might not even be a next 20 years for kids to live their lives if we don’t change now.\u003c/p>\n\u003cp>I do think the pandemic has helped open people’s minds. We’re seeing other countries opening up and returning to normal—but the United States isn’t, and it’s because of our leadership. Right now, people have more time to be at home, to do research, to see the news, to see on their social media how important it is to change things now. We don’t have all our everyday distractions to keep us away from those things.\u003c/p>\n\u003cp>\u003cstrong>It’s easy to feel ground down right now, and I think a lot of people are struggling with why they should participate in our current political system at all. If a young person says, “I’m not going to vote in this election. It doesn’t matter. The system is broken,” what’s your most compelling argument against that?\u003c/strong>\u003c/p>\n\u003cp>I think people take voting for granted. People are like, “Yeah, whatever. The system’s broken. [I’m not going to vote.]” But a lot of them don’t see how their actions are affecting people they really love.\u003c/p>\n\u003cp>I always say the best way to talk to someone is to give them a face to the cause. [As a legal resident,] I can vote in some local measures, but I can’t vote in our presidential election. I don’t have my citizenship yet, and I don’t know if I’m going to be able to get citizenship. As someone here on asylum, I don’t even know if going back to my home is going to be safe for me.\u003c/p>\n\u003cfigure id=\"attachment_13887667\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_RexyAmaral_10072020.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_RexyAmaral_10072020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_RexyAmaral_10072020-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_RexyAmaral_10072020-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rexy Tapia: ‘We need to actively value the lives of Black trans women, Brown trans women, people in detention centers, people in prison. We need to show compassion.’ \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think a lot of people are like, “You’re choosing between two evils, what’s the point?” The point is that sometimes you’ve got to make a difficult decision to choose the lesser of two evils so you have a little more time to create that change. With Trump, we don’t know how much longer we’re going to have before he starts a war, before he runs our country into the ground. But with Biden, we can hold off that immediate threat, and we can have four years to build a national consciousness. And to continue to spread education so that we can vote for someone who’s not the lesser of two evils, someone who is going to help change the world.\u003c/p>\n\u003cp>It’s little bit by little bit that change happens. Rome wasn’t built in a day, and we’re certainly not going to take it down in a day.\u003c/p>\n\u003cp>\u003cstrong>Moving past the presidential election, what are the items on California and San Francisco ballots this fall that you think that voters need to have their eye on? \u003c/strong>\u003c/p>\n\u003cp>These issues are really intersectional—starting with \u003ca href=\"https://www.kqed.org/voterguide/proposition-18-voting-17-year-olds\" target=\"_blank\" rel=\"noopener noreferrer\">Prop. 18\u003c/a>, which would allow 17-year-olds who would be 18 by the next election to register to vote and to start voting on early measures. We say the youth are the future; why not give them more of an ability to create that change? What could be happening now if [younger people] had been able to vote in the 2016 election? Would we even have Trump as the president, or would [his 2016 candidacy] just be a joke by now? Giving youth that power and privilege, uplifting their voices is vital to our movement and to liberation. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other one that I really am hoping that people pay attention to is \u003ca href=\"https://www.kqed.org/voterguide/proposition-17-parole-vote\" target=\"_blank\" rel=\"noopener noreferrer\">Prop. 17\u003c/a>, which would restore voting rights to people on parole—people who have any kind of felony charges are kept from voting. If we look at who those people are, it’s predominantly Black and Brown people. We need to make it so that folks can vote so that we can start creating change.\u003c/p>\n\u003cp>The other one that’s very crucial is \u003ca href=\"https://www.kqed.org/voterguide/proposition-21-rent-control\" target=\"_blank\" rel=\"noopener noreferrer\">Prop. 21\u003c/a>, the initiative that would allow local governments to enact rent control on housing that has been occupied for over 15 years. I know what it’s like to have to move around and not have that solid foundation to create those lifelong friendships and focus on your studies. Rent control protects people of color, and immigrants specifically.\u003c/p>\n\u003cp>There’s also \u003ca href=\"https://www.kqed.org/voterguide/proposition-22-ab-5-gig-workers\" target=\"_blank\" rel=\"noopener noreferrer\">Prop. 22\u003c/a>, [\u003ca href=\"https://www.kqed.org/news/11839164/poll-voters-cool-to-measure-backed-by-uber-and-lyft\" target=\"_blank\" rel=\"noopener noreferrer\">which would classify rideshare app drivers as independent contractors\u003c/a>]. These are big corporations trying to hold us hostage, like when they \u003ca href=\"https://sfist.com/2020/08/12/as-california-labor-case-heads-for-appeal-uber-says-it-may-halt-operations-in-state/\" target=\"_blank\" rel=\"noopener noreferrer\">sent the message that they were going to close down [in California]\u003c/a> if the measure was passed—a very petty move.\u003c/p>\n\u003cp>And on the San Francisco ballot, I’m talking about \u003ca href=\"https://www.kqed.org/voterguide/election-2020-san-francisco-county-proposition-d\" target=\"_blank\" rel=\"noopener noreferrer\">Prop. D\u003c/a>, the measure that would create a board that would overlook the sheriff’s department. A lot of people were out at the [racial justice] marches, taking selfies. It’s time for everyone to solidify that work by voting to hold these people accountable who attack our communities. Holding the sheriff’s department accountable by creating a board is something we can do now, and then eventually work towards defunding the police.\u003c/p>\n\u003cp>It’s important for everyone to really get out there and vote. If not for you, do it for me; do it for the children who can’t vote yet. Maybe there’s that person in your neighborhood who can’t vote because of past felonies. Do it for the next four years, to continue with the fight.\u003c/p>\n\u003cp>\u003cstrong>How do you use your role as a performer to build political strength in your community?\u003c/strong>\u003c/p>\n\u003cp>Everyone is interested in drag in some capacity. If I’m in full drag and I stand on a busy street, at least a couple people are going to stop and take pictures—people are actually taking the time to pay attention to you. My drag mom Kylie Minono and Landa Lakes will stand in the Castro with signs that say “Drag Out The Vote” and be looking so glamorous and beautiful, and people stop, and they will register to vote, because they’re so fascinated by these glamazons standing in front of them.\u003c/p>\n\u003cfigure id=\"attachment_13887666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/006_KQEDArts_ElectionPortraits_RexyAmaral_10072020-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/006_KQEDArts_ElectionPortraits_RexyAmaral_10072020-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/006_KQEDArts_ElectionPortraits_RexyAmaral_10072020-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/006_KQEDArts_ElectionPortraits_RexyAmaral_10072020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/006_KQEDArts_ElectionPortraits_RexyAmaral_10072020-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/006_KQEDArts_ElectionPortraits_RexyAmaral_10072020-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/006_KQEDArts_ElectionPortraits_RexyAmaral_10072020.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rexy Tapia: ‘A lot of people were out at the [racial justice] marches, taking selfies. It’s time for everyone to solidify that work by voting to hold these people accountable who attack our communities.’ \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’re even seeing it in big-time media. Throughout the whole last season of \u003cem>RuPaul’s Drag Race\u003c/em>, it was all about getting people out to vote. In almost every drag show right now, performers are reminding people to vote. Drag is going to be political no matter what, so you may as well make the message clear.\u003c/p>\n\u003cp>\u003cstrong>After the election, no matter how it goes, what are your hopes and goals for this country and for the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>My hopes are that we start listening to people of color, specifically Black folks. That we, as a country, move toward creating justice and listening to First Nation people, Native people, Indigenous people. That’s something that we should have done in order to prevent many of the fires in California, specifically.\u003c/p>\n\u003cp>We need to have conversations with our problematic uncles and aunties who think trans women are just men dressing up to attack women. We need to actively value the lives of Black trans women, Brown trans women, people in detention centers, people in prison. We need to show compassion.\u003c/p>\n\u003cp>Beyond what happens in the next election, I hope we learn to have compassion and to listen and lift up voices that have been ignored, and put them on top.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview was edited for length and clarity. Learn more about Rexy Tapia \u003ca href=\"https://www.instagram.com/theoneandonlyrexy/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For drag performers, the pandemic has brought canceled gigs, shuttered bars and financial hardships—but also an important pause to imagine a more sustainable and inclusive way forward for queer nightlife once we’re able to gather again.\u003c/p>\n\u003cp>That’s the mindset of the producers of \u003ca href=\"https://www.oaklash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oaklash\u003c/a>, the drag festival that spotlights performers of different genders, generations, cultures and styles—glitzy, campy and avant-garde alike. If this were a normal year, hundreds of fans would have packed the backyard of Classic Cars West to see Peaches Christ’s macabre antics, \u003cem>RuPaul’s Drag Race Thailand\u003c/em> champion Angele Anang and the playful, provocative \u003ca href=\"https://www.kqed.org/arts/13835533/nicki-jizzs-daring-drag-puts-performers-of-color-in-the-spotlight\" target=\"_blank\" rel=\"noopener noreferrer\">Nicki Jizz\u003c/a>. Instead, the festival will take place as a digital drag extravaganza on \u003ca href=\"http://www.twitch.tv/oaklash2020\" target=\"_blank\" rel=\"noopener noreferrer\">Twitch\u003c/a> during Oakland Pride weekend, Sept. 4–6.\u003c/p>\n\u003cp>“Part of the sensibility of the Bay Area is that diversity, and we hope we can build more stages for that,” says \u003ca href=\"https://www.instagram.com/mamacelestefanclub/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mama Celeste\u003c/a>, who co-founded Oaklash with fellow drag performer Beatrix LaHaine in 2018. The duo has spent weeks putting together a lineup that unites performers from popular online drag shows such as Digital Drag, hosted by Biqtch Puddin, and The Stud’s Drag Alive. At Oaklash, some of the segments will be self-produced by the artists at home, and others will be shot at San Francisco club Oasis, with a multi-camera set-up and special effects. [aside postid='arts_13883181']\u003c/p>\n\u003cp>With Oaklash coming to fans’ living rooms, there’s a new opportunity to have intimate conversations that would have been difficult in a packed club. Saturday includes a slate of panels about disability justice, anti-racism and the future of drag after COVID-19. These conversations are already happening among drag performers and show producers; now, they have the chance to call in their audiences and rally them to action.\u003c/p>\n\u003cp>The Black Lives Matter movement has inspired many realms of the arts to take stock of their complicity in racism, and the queer nightlife community is no exception. In late July, drag performers \u003ca href=\"https://www.instagram.com/militiasf\" target=\"_blank\" rel=\"noopener noreferrer\">Militia\u003c/a> and \u003ca href=\"https://www.instagram.com/afrikaamerica/\" target=\"_blank\" rel=\"noopener noreferrer\">Afrika America\u003c/a>, who are both part of Saturday’s Oaklash anti-racism panel along with \u003ca href=\"https://www.instagram.com/tyislucystoole/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lucy Stoole\u003c/a>, participated in a town hall about racism and safety in LGBTQ+ nightlife after a survey from the \u003ca href=\"https://www.facebook.com/baqncoalition/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Queer Nightlife Coalition\u003c/a> revealed histories of racism and transphobia at \u003ca href=\"https://www.ebar.com/news/news//295593\" target=\"_blank\" rel=\"noopener noreferrer\">several of San Francisco’s most popular gay bars\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13885725\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885725\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/FullSizeRender-800x795.jpeg\" alt=\"A drag performer wearing lace, faux fur and a garter belt collects a tip from a fan.\" width=\"800\" height=\"795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/FullSizeRender-800x795.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/FullSizeRender-160x159.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/FullSizeRender-768x763.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/FullSizeRender.jpeg 824w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drag performer Militia of the Queer Nightlife Coalition will be part of an anti-racism panel at Oaklash on Sept. 5. \u003ccite>(Courtesy of Militia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similar town halls about race and equity in queer nightlife have taken place in Chicago and Philadelphia, and Oaklash presents an opportunity to continue the conversation. “All of us have really been talking about the same things: it’s tokenization and equitable treatment,” says Militia, describing a culture of booking one Black drag queen per show to “fill a quota,” unequal pay and lack of promotion for Black performers.\u003c/p>\n\u003cp>“For me, the bar owners who have the most issues—I don’t know that they’re actually doing the work right now besides waiting for it to blow over,” she says. “Which is fine, because the community is now watching them as well.”\u003c/p>\n\u003cp>San Francisco’s gay bar scene has a decades-long history of catering to cis, white men, and excluding people of color, gender non-conforming people and women (or those who fall into all three categories). In the 1970s, the Castro was known as the land of mustaches, pale skin and biceps, and, while that image has shifted, discrimination continues. Part of the challenge of addressing it is denial, Militia says. In her experience, white bar owners and party-goers often shut down conversations about racism before they begin because they go into defensive mode, afraid of being called a racist. She hopes Saturday’s panel can encourage more openness.\u003c/p>\n\u003cp>“Everybody has levels of racism within them, everybody has levels of xenophobia within them. It is up to you to continue to do the work,” she says. “I think it would help if people realize that being anti-racist isn’t something you achieve and then you’re done. … Especially when we’re just starting the conversation.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another Oaklash panel invites the queer and trans community to “Spill the Disabili-tea” on accessibility for people with disabilities. Led by advocate Alex Locust, who sometimes goes by \u003ca href=\"https://www.glamputee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Glamputee\u003c/a>, the panel invites BIPOC drag performers and nightlife professionals with disabilities to discuss what Locust describes as a joyful vision of true inclusivity—one that takes access to physical spaces, vision and hearing accommodations and mental health into account. (The speaker lineup includes George Kaplan, Mizi Samuels-Waithe, Gabe Taylor, Robin Wilson-Beatti and Lola Ursula, and there will be closed captioning for the Oaklash panels on Twitch.)\u003c/p>\n\u003cfigure id=\"attachment_13885724\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885724\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/alex-locust-pride-800x600.jpg\" alt=\"Four smiling friends pose at a Pride celebration.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Locust (far right) leads workshops on accessibility and will host the “Spill the Disabili-TEA” panel at Oaklash on Sept. 5 on Twitch. \u003ccite>(Courtesy of Alex Locust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Accessibility practices for disabled folks within the queer community are attended to sporadically,” says Locust. People with disabilities often have to do prep work to make sure that bars and clubs they want to visit are accessible—which takes the fun and spontaneity out of going out. But deeper than that, it alienates them from the places where LGBTQ+ people build community.\u003c/p>\n\u003cp>[aside postid='arts_13884392']“What is the emotional and mental toll of advocating that spaces are available to you?” Locust wonders. “If this is your community, to feel like you have to fight or champion just so you can get in the door, or just to feel that you are welcome in that space and your body and your mind were thought of, rather than feeling like a burden.”\u003c/p>\n\u003cp>At this stage of the pandemic, digital event producers are grappling with how to hold audiences’ attention as streaming fatigue sets in and unofficial gatherings crop up outdoors. But at Oaklash, there’s clearly momentum around the creative possibilities and opportunities for discussion the new medium has brought.\u003c/p>\n\u003cp>“I’m super excited to see how it translates to the festival, and I’m super excited to see how it translates to drag post-COVID, post-quarantine,” says Militia. “I don’t think drag is ever really gonna be the same.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Oaklash\u003c/i> is streaming on Twitch Sept. 4–6. \u003ca href=\"https://www.oaklash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For drag performers, the pandemic has brought canceled gigs, shuttered bars and financial hardships—but also an important pause to imagine a more sustainable and inclusive way forward for queer nightlife once we’re able to gather again.\u003c/p>\n\u003cp>That’s the mindset of the producers of \u003ca href=\"https://www.oaklash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oaklash\u003c/a>, the drag festival that spotlights performers of different genders, generations, cultures and styles—glitzy, campy and avant-garde alike. If this were a normal year, hundreds of fans would have packed the backyard of Classic Cars West to see Peaches Christ’s macabre antics, \u003cem>RuPaul’s Drag Race Thailand\u003c/em> champion Angele Anang and the playful, provocative \u003ca href=\"https://www.kqed.org/arts/13835533/nicki-jizzs-daring-drag-puts-performers-of-color-in-the-spotlight\" target=\"_blank\" rel=\"noopener noreferrer\">Nicki Jizz\u003c/a>. Instead, the festival will take place as a digital drag extravaganza on \u003ca href=\"http://www.twitch.tv/oaklash2020\" target=\"_blank\" rel=\"noopener noreferrer\">Twitch\u003c/a> during Oakland Pride weekend, Sept. 4–6.\u003c/p>\n\u003cp>“Part of the sensibility of the Bay Area is that diversity, and we hope we can build more stages for that,” says \u003ca href=\"https://www.instagram.com/mamacelestefanclub/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mama Celeste\u003c/a>, who co-founded Oaklash with fellow drag performer Beatrix LaHaine in 2018. The duo has spent weeks putting together a lineup that unites performers from popular online drag shows such as Digital Drag, hosted by Biqtch Puddin, and The Stud’s Drag Alive. At Oaklash, some of the segments will be self-produced by the artists at home, and others will be shot at San Francisco club Oasis, with a multi-camera set-up and special effects. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With Oaklash coming to fans’ living rooms, there’s a new opportunity to have intimate conversations that would have been difficult in a packed club. Saturday includes a slate of panels about disability justice, anti-racism and the future of drag after COVID-19. These conversations are already happening among drag performers and show producers; now, they have the chance to call in their audiences and rally them to action.\u003c/p>\n\u003cp>The Black Lives Matter movement has inspired many realms of the arts to take stock of their complicity in racism, and the queer nightlife community is no exception. In late July, drag performers \u003ca href=\"https://www.instagram.com/militiasf\" target=\"_blank\" rel=\"noopener noreferrer\">Militia\u003c/a> and \u003ca href=\"https://www.instagram.com/afrikaamerica/\" target=\"_blank\" rel=\"noopener noreferrer\">Afrika America\u003c/a>, who are both part of Saturday’s Oaklash anti-racism panel along with \u003ca href=\"https://www.instagram.com/tyislucystoole/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lucy Stoole\u003c/a>, participated in a town hall about racism and safety in LGBTQ+ nightlife after a survey from the \u003ca href=\"https://www.facebook.com/baqncoalition/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Queer Nightlife Coalition\u003c/a> revealed histories of racism and transphobia at \u003ca href=\"https://www.ebar.com/news/news//295593\" target=\"_blank\" rel=\"noopener noreferrer\">several of San Francisco’s most popular gay bars\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13885725\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885725\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/FullSizeRender-800x795.jpeg\" alt=\"A drag performer wearing lace, faux fur and a garter belt collects a tip from a fan.\" width=\"800\" height=\"795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/FullSizeRender-800x795.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/FullSizeRender-160x159.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/FullSizeRender-768x763.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/FullSizeRender.jpeg 824w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drag performer Militia of the Queer Nightlife Coalition will be part of an anti-racism panel at Oaklash on Sept. 5. \u003ccite>(Courtesy of Militia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similar town halls about race and equity in queer nightlife have taken place in Chicago and Philadelphia, and Oaklash presents an opportunity to continue the conversation. “All of us have really been talking about the same things: it’s tokenization and equitable treatment,” says Militia, describing a culture of booking one Black drag queen per show to “fill a quota,” unequal pay and lack of promotion for Black performers.\u003c/p>\n\u003cp>“For me, the bar owners who have the most issues—I don’t know that they’re actually doing the work right now besides waiting for it to blow over,” she says. “Which is fine, because the community is now watching them as well.”\u003c/p>\n\u003cp>San Francisco’s gay bar scene has a decades-long history of catering to cis, white men, and excluding people of color, gender non-conforming people and women (or those who fall into all three categories). In the 1970s, the Castro was known as the land of mustaches, pale skin and biceps, and, while that image has shifted, discrimination continues. Part of the challenge of addressing it is denial, Militia says. In her experience, white bar owners and party-goers often shut down conversations about racism before they begin because they go into defensive mode, afraid of being called a racist. She hopes Saturday’s panel can encourage more openness.\u003c/p>\n\u003cp>“Everybody has levels of racism within them, everybody has levels of xenophobia within them. It is up to you to continue to do the work,” she says. “I think it would help if people realize that being anti-racist isn’t something you achieve and then you’re done. … Especially when we’re just starting the conversation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another Oaklash panel invites the queer and trans community to “Spill the Disabili-tea” on accessibility for people with disabilities. Led by advocate Alex Locust, who sometimes goes by \u003ca href=\"https://www.glamputee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Glamputee\u003c/a>, the panel invites BIPOC drag performers and nightlife professionals with disabilities to discuss what Locust describes as a joyful vision of true inclusivity—one that takes access to physical spaces, vision and hearing accommodations and mental health into account. (The speaker lineup includes George Kaplan, Mizi Samuels-Waithe, Gabe Taylor, Robin Wilson-Beatti and Lola Ursula, and there will be closed captioning for the Oaklash panels on Twitch.)\u003c/p>\n\u003cfigure id=\"attachment_13885724\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885724\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/alex-locust-pride-800x600.jpg\" alt=\"Four smiling friends pose at a Pride celebration.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Locust (far right) leads workshops on accessibility and will host the “Spill the Disabili-TEA” panel at Oaklash on Sept. 5 on Twitch. \u003ccite>(Courtesy of Alex Locust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Accessibility practices for disabled folks within the queer community are attended to sporadically,” says Locust. People with disabilities often have to do prep work to make sure that bars and clubs they want to visit are accessible—which takes the fun and spontaneity out of going out. But deeper than that, it alienates them from the places where LGBTQ+ people build community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“What is the emotional and mental toll of advocating that spaces are available to you?” Locust wonders. “If this is your community, to feel like you have to fight or champion just so you can get in the door, or just to feel that you are welcome in that space and your body and your mind were thought of, rather than feeling like a burden.”\u003c/p>\n\u003cp>At this stage of the pandemic, digital event producers are grappling with how to hold audiences’ attention as streaming fatigue sets in and unofficial gatherings crop up outdoors. But at Oaklash, there’s clearly momentum around the creative possibilities and opportunities for discussion the new medium has brought.\u003c/p>\n\u003cp>“I’m super excited to see how it translates to the festival, and I’m super excited to see how it translates to drag post-COVID, post-quarantine,” says Militia. “I don’t think drag is ever really gonna be the same.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Oaklash\u003c/i> is streaming on Twitch Sept. 4–6. \u003ca href=\"https://www.oaklash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Drag Performers Could Run Your California Polling Place in November",
"headTitle": "Drag Performers Could Run Your California Polling Place in November | KQED",
"content": "\u003cp>Though it may not be obvious from the wigs and glitter, drag has always been a \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener noreferrer\">political art form\u003c/a>. In the 1960s, drag queens and trans women rioted against abusive police officers at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria\u003c/a> and New York’s Stonewall Inn, ushering in the modern-day gay rights movement. In the 1980s, the Sisters of Perpetual Indulgence used street theater to raise awareness and money for AIDS/HIV treatment while the federal government ignored the epidemic. Today, San Francisco drag performer \u003ca href=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!\u003c/a> campaigns for candidates and publishes a voting guide every election season, and Honey Mahogany is closely involved in city politics, helping San Francisco found the \u003ca href=\"https://www.kqed.org/news/11717648/worlds-first-transgender-culture-district-looks-to-the-past-and-the-future\" target=\"_blank\" rel=\"noopener noreferrer\">world’s first Transgender Cultural District\u003c/a>.\u003c/p>\n\u003cp>All that is to say that it makes perfect sense for California Secretary of State Alex Padilla to partner with Drag Out the Vote to boost turnout for the Nov. 3 election. It’s a bipartisan organization that operates in all 50 states, and its drag ambassadors register people to vote and motivate the LGBTQ+ community to get politically active. (Brita Filter and Jiggly Caliente of \u003cem>RuPaul’s Drag Race\u003c/em> fame are among their ranks.) Under the new partnership with the state of California, the first of its kind in the nation, drag performers will be tasked with disseminating timely and accurate election information, working polling places and acting as election observers.\u003c/p>\n\u003cp>[aside link1=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics,Juanita MORE!, Beloved Drag Mother, is Queering San Francisco Politics\" link2=\"https://www.kqed.org/arts/13835002/a-kqed-arts-series-the-changing-face-of-drag,The Changing Face of Drag\"]\u003cbr>\n“Every eligible voter should have the ability to cast a ballot free of barriers, and the LGBTQ+ community is no different,” Padilla said in a statement.\u003c/p>\n\u003cp>One in five LGBTQ+ adults aren’t registered to vote. And with Gen Z—the queerest generation—coming of age, it’s a crucial time to boost voter turnout. Drag performers who want to get involved have until Sept. 30 to register. \u003ca href=\"https://www.dragoutthevote2020.org/dap\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/XQUFjEEK4d4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though it may not be obvious from the wigs and glitter, drag has always been a \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener noreferrer\">political art form\u003c/a>. In the 1960s, drag queens and trans women rioted against abusive police officers at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria\u003c/a> and New York’s Stonewall Inn, ushering in the modern-day gay rights movement. In the 1980s, the Sisters of Perpetual Indulgence used street theater to raise awareness and money for AIDS/HIV treatment while the federal government ignored the epidemic. Today, San Francisco drag performer \u003ca href=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!\u003c/a> campaigns for candidates and publishes a voting guide every election season, and Honey Mahogany is closely involved in city politics, helping San Francisco found the \u003ca href=\"https://www.kqed.org/news/11717648/worlds-first-transgender-culture-district-looks-to-the-past-and-the-future\" target=\"_blank\" rel=\"noopener noreferrer\">world’s first Transgender Cultural District\u003c/a>.\u003c/p>\n\u003cp>All that is to say that it makes perfect sense for California Secretary of State Alex Padilla to partner with Drag Out the Vote to boost turnout for the Nov. 3 election. It’s a bipartisan organization that operates in all 50 states, and its drag ambassadors register people to vote and motivate the LGBTQ+ community to get politically active. (Brita Filter and Jiggly Caliente of \u003cem>RuPaul’s Drag Race\u003c/em> fame are among their ranks.) Under the new partnership with the state of California, the first of its kind in the nation, drag performers will be tasked with disseminating timely and accurate election information, working polling places and acting as election observers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n“Every eligible voter should have the ability to cast a ballot free of barriers, and the LGBTQ+ community is no different,” Padilla said in a statement.\u003c/p>\n\u003cp>One in five LGBTQ+ adults aren’t registered to vote. And with Gen Z—the queerest generation—coming of age, it’s a crucial time to boost voter turnout. Drag performers who want to get involved have until Sept. 30 to register. \u003ca href=\"https://www.dragoutthevote2020.org/dap\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XQUFjEEK4d4'\n title='//www.youtube.com/embed/XQUFjEEK4d4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>June is typically the month drag performers are booked and busy, lip-syncing at clubs, emceeing patio parties, raising money for LGBTQ+ organizations and strutting their stuff on the Pride stage.\u003c/p>\n\u003cp>But this year, those rituals were completely upended. During the last weekend of June, San Francisco Pride took place online. The city’s gay bars, typically alight with events all month, sat quietly boarded up—most notably its oldest one, \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a>. (Its owners decided to cut their losses and reopen in a new location when the pandemic ends.)\u003c/p>\n\u003cp>[pullquote align='right' size='small']\u003cb>By the numbers…\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Rent: $1,200/month\u003c/li>\n\u003cli>Typical Pride earnings: $5,000\u003c/li>\n\u003cli>2020 Pride earnings: $2,000\u003c/li>\n\u003cli>Average household earnings from Twitch: $200/month plus tips\u003c/li>\n\u003c/ul>\n\u003cp>[/pullquote]Like many drag performers in San Francisco, \u003ca href=\"https://www.instagram.com/cashmonetdrag/\" target=\"_blank\" rel=\"noopener noreferrer\">Cash Monet\u003c/a>, the stage name of Patrick Santos, has found herself facing a sizable drop in income since the Bay Area started sheltering in place.\u003c/p>\n\u003cp>“It was a little different this year. There were no Pride gigs. And the one Pride gig I got paid for was the first time in a long time I paid for my own costumes and wigs,” she says, adding that her earnings from Pride month ended up at around $2,000 after subtracting the $1,000 she spent on new looks. In a typical year, she’d pocket $5,000—enough to cover several months of rent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A lot has changed for Monet since March. Pre-pandemic, a typical week consisted of work at her day job as the social media manager for \u003ca href=\"https://www.instagram.com/rockmsakura/\" target=\"_blank\" rel=\"noopener noreferrer\">Rock M. Sakura\u003c/a>, Monet’s friend and a contestant on the latest season of \u003ca href=\"http://www.vh1.com/shows/rupauls-drag-race\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>RuPaul’s Drag Race\u003c/em>\u003c/a>. Monet would go to Sakura’s place to shoot and edit content for her popular Instagram account and YouTube channel. But after the Bay Area announced its shelter-in-place orders, visiting Sakura every day was no longer an option. (They’ve since resumed working together but with a modified schedule to minimize in-person contact.)\u003c/p>\n\u003cfigure id=\"attachment_13883402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883402\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco drag performer Cash Monet has had to get creative with streaming while club gigs are canceled during the pandemic. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On nights and weekends, Monet filled her time with club gigs at places like Moby Dick, where she threw a cosplay drag party, Pastel Gore (her minimum rate for a club appearance was $100). She also taught a biweekly K-pop dance class, \u003ca href=\"https://www.instagram.com/kpopup.sf/\" target=\"_blank\" rel=\"noopener noreferrer\">K-Pop Up\u003c/a> at Levy Studio, which usually brought in an extra $200 a week.\u003c/p>\n\u003cp>After shelter in place began, gigs disappeared overnight for Monet and her two housemates, the drag performers \u003ca href=\"https://www.instagram.com/itsmaryvice/\" target=\"_blank\" rel=\"noopener noreferrer\">Mary Vice\u003c/a> and God’s Little Princess. “All of our money came in through the bars,” Monet says. “It was really scary because that was all of our income.”\u003c/p>\n\u003cp>Already accustomed to sharing wigs and other resources, the trio got creative. Video games, anime and nerd culture are big inspirations for Monet’s candy-colored style of drag. She already had an account on the streaming site \u003ca href=\"https://www.twitch.tv/cashmonetdrag\" target=\"_blank\" rel=\"noopener noreferrer\">Twitch\u003c/a>, popular among gamers and a newly important platform for the drag community during the pandemic. The roommates teamed up to create a lineup of virtual programming, curating a calendar of in-home, livestreamed drag shows, video-game streams (\u003cem>Spongebob Squarepants: Battle for Bikini Bottom\u003c/em> has been a favorite), drag makeup and video editing tutorials and even interviews with public figures like congressional hopeful \u003ca href=\"https://www.twitch.tv/videos/655788884?filter=archives&sort=time\" target=\"_blank\" rel=\"noopener noreferrer\">Shahid Buttar\u003c/a>, the Democratic Socialist running to unseat Nancy Pelosi in the 2020 election.\u003c/p>\n\u003cfigure id=\"attachment_13883366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883366\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cash Monet’s room is where she performs, streams video editing and makeup tutorials and creates social media content for Rock M. Sakura. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the get-go, the crew’s approach to livestreaming has been playful and tongue-in-cheek. “Our first stream was called ‘Watch Mary Paint,’ and it was supposed to be a play on ‘Watch Mary Paint Her Face,’” says Monet, adding that the audience expected a drag makeup tutorial. “But it was literally, watch Mary Vice paint her room purple.”\u003c/p>\n\u003cp>The Twitch channel has over 1,800 subscribers, and about 100 of them pay at least $4.99 a month. But after the platform takes its cut, the three performers only take home a collective $200 a month. Fortunately, viewers often tip via Venmo, especially during the Monday night drag show, which brings in an average of $50 in tips per person every week. Though her take-home pay from the channel hasn’t been huge, Monet has hosted several streams for good causes, raising hundreds of dollars for Black Lives Matter protesters’ bail funds, \u003ca href=\"https://www.translifeline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Trans Lifeline\u003c/a> and the \u003ca href=\"https://marshap.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Marsha P. Johnson Institute\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13883367\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883367\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Home is now the club for drag performers like Monet, who put on shows and get tipped virtually while sheltering in place. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monet says streaming on Twitch often requires her to think on her feet and multitask—not unlike running her own show at a club. “Drag performers and producers have to be a jack of all trades because not only are you performing in drag, but you have be a video editor, videographer and maybe you have to do lighting and sound editing on top of that,” she says. “If you’re performing at a show, people don’t realize you’re stage managing, lighting directing, music mixing. Is it good? \u003cem>Eh\u003c/em>, questionable. But I’m making it work.”\u003c/p>\n\u003cp>Modesty aside, others are clearly taking note of Monet’s streaming savvy. For Pride, the \u003ca href=\"https://www.culturalpower.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Cultural Power\u003c/a> contracted her to produce their drag show, which required her to be the web master, virtual stage manager and emcee all at once. “It felt like I was back in an actual job because I had meetings and Google docs,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13883369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883369\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Much like running a show at a club, Twitch streams require Cash Monet to be a jack of all trades. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Monet has been working hard to continue doing drag in the digital space, the combined earnings of all her projects add up to little more than her rent, which is $1,200 a month. Social media managing for Sakura, which pays about $700–$1,000 a month, is a big chunk of that. Unfortunately, she hasn’t been able to get unemployment benefits because so much of her work prior to the pandemic wasn’t formally documented. But she did receive two COVID-relief artist grants of $500 each.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Despite the uncertainty, Monet remains undeterred, and encourages other performing artists to experiment with ways to continue their craft in the era of social distancing—even if it’s a bit glitchy at first. “The more you do something, the more you learn,” she says. “If you make a mistake on your stream and the microphone wasn’t working and it looks bad, use that as part of your learning process.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>June is typically the month drag performers are booked and busy, lip-syncing at clubs, emceeing patio parties, raising money for LGBTQ+ organizations and strutting their stuff on the Pride stage.\u003c/p>\n\u003cp>But this year, those rituals were completely upended. During the last weekend of June, San Francisco Pride took place online. The city’s gay bars, typically alight with events all month, sat quietly boarded up—most notably its oldest one, \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a>. (Its owners decided to cut their losses and reopen in a new location when the pandemic ends.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cb>By the numbers…\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Rent: $1,200/month\u003c/li>\n\u003cli>Typical Pride earnings: $5,000\u003c/li>\n\u003cli>2020 Pride earnings: $2,000\u003c/li>\n\u003cli>Average household earnings from Twitch: $200/month plus tips\u003c/li>\n\u003c/ul>\n\u003cp>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Like many drag performers in San Francisco, \u003ca href=\"https://www.instagram.com/cashmonetdrag/\" target=\"_blank\" rel=\"noopener noreferrer\">Cash Monet\u003c/a>, the stage name of Patrick Santos, has found herself facing a sizable drop in income since the Bay Area started sheltering in place.\u003c/p>\n\u003cp>“It was a little different this year. There were no Pride gigs. And the one Pride gig I got paid for was the first time in a long time I paid for my own costumes and wigs,” she says, adding that her earnings from Pride month ended up at around $2,000 after subtracting the $1,000 she spent on new looks. In a typical year, she’d pocket $5,000—enough to cover several months of rent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A lot has changed for Monet since March. Pre-pandemic, a typical week consisted of work at her day job as the social media manager for \u003ca href=\"https://www.instagram.com/rockmsakura/\" target=\"_blank\" rel=\"noopener noreferrer\">Rock M. Sakura\u003c/a>, Monet’s friend and a contestant on the latest season of \u003ca href=\"http://www.vh1.com/shows/rupauls-drag-race\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>RuPaul’s Drag Race\u003c/em>\u003c/a>. Monet would go to Sakura’s place to shoot and edit content for her popular Instagram account and YouTube channel. But after the Bay Area announced its shelter-in-place orders, visiting Sakura every day was no longer an option. (They’ve since resumed working together but with a modified schedule to minimize in-person contact.)\u003c/p>\n\u003cfigure id=\"attachment_13883402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883402\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco drag performer Cash Monet has had to get creative with streaming while club gigs are canceled during the pandemic. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On nights and weekends, Monet filled her time with club gigs at places like Moby Dick, where she threw a cosplay drag party, Pastel Gore (her minimum rate for a club appearance was $100). She also taught a biweekly K-pop dance class, \u003ca href=\"https://www.instagram.com/kpopup.sf/\" target=\"_blank\" rel=\"noopener noreferrer\">K-Pop Up\u003c/a> at Levy Studio, which usually brought in an extra $200 a week.\u003c/p>\n\u003cp>After shelter in place began, gigs disappeared overnight for Monet and her two housemates, the drag performers \u003ca href=\"https://www.instagram.com/itsmaryvice/\" target=\"_blank\" rel=\"noopener noreferrer\">Mary Vice\u003c/a> and God’s Little Princess. “All of our money came in through the bars,” Monet says. “It was really scary because that was all of our income.”\u003c/p>\n\u003cp>Already accustomed to sharing wigs and other resources, the trio got creative. Video games, anime and nerd culture are big inspirations for Monet’s candy-colored style of drag. She already had an account on the streaming site \u003ca href=\"https://www.twitch.tv/cashmonetdrag\" target=\"_blank\" rel=\"noopener noreferrer\">Twitch\u003c/a>, popular among gamers and a newly important platform for the drag community during the pandemic. The roommates teamed up to create a lineup of virtual programming, curating a calendar of in-home, livestreamed drag shows, video-game streams (\u003cem>Spongebob Squarepants: Battle for Bikini Bottom\u003c/em> has been a favorite), drag makeup and video editing tutorials and even interviews with public figures like congressional hopeful \u003ca href=\"https://www.twitch.tv/videos/655788884?filter=archives&sort=time\" target=\"_blank\" rel=\"noopener noreferrer\">Shahid Buttar\u003c/a>, the Democratic Socialist running to unseat Nancy Pelosi in the 2020 election.\u003c/p>\n\u003cfigure id=\"attachment_13883366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883366\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cash Monet’s room is where she performs, streams video editing and makeup tutorials and creates social media content for Rock M. Sakura. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the get-go, the crew’s approach to livestreaming has been playful and tongue-in-cheek. “Our first stream was called ‘Watch Mary Paint,’ and it was supposed to be a play on ‘Watch Mary Paint Her Face,’” says Monet, adding that the audience expected a drag makeup tutorial. “But it was literally, watch Mary Vice paint her room purple.”\u003c/p>\n\u003cp>The Twitch channel has over 1,800 subscribers, and about 100 of them pay at least $4.99 a month. But after the platform takes its cut, the three performers only take home a collective $200 a month. Fortunately, viewers often tip via Venmo, especially during the Monday night drag show, which brings in an average of $50 in tips per person every week. Though her take-home pay from the channel hasn’t been huge, Monet has hosted several streams for good causes, raising hundreds of dollars for Black Lives Matter protesters’ bail funds, \u003ca href=\"https://www.translifeline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Trans Lifeline\u003c/a> and the \u003ca href=\"https://marshap.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Marsha P. Johnson Institute\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13883367\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883367\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Home is now the club for drag performers like Monet, who put on shows and get tipped virtually while sheltering in place. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monet says streaming on Twitch often requires her to think on her feet and multitask—not unlike running her own show at a club. “Drag performers and producers have to be a jack of all trades because not only are you performing in drag, but you have be a video editor, videographer and maybe you have to do lighting and sound editing on top of that,” she says. “If you’re performing at a show, people don’t realize you’re stage managing, lighting directing, music mixing. Is it good? \u003cem>Eh\u003c/em>, questionable. But I’m making it work.”\u003c/p>\n\u003cp>Modesty aside, others are clearly taking note of Monet’s streaming savvy. For Pride, the \u003ca href=\"https://www.culturalpower.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Cultural Power\u003c/a> contracted her to produce their drag show, which required her to be the web master, virtual stage manager and emcee all at once. “It felt like I was back in an actual job because I had meetings and Google docs,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13883369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883369\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Much like running a show at a club, Twitch streams require Cash Monet to be a jack of all trades. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Monet has been working hard to continue doing drag in the digital space, the combined earnings of all her projects add up to little more than her rent, which is $1,200 a month. Social media managing for Sakura, which pays about $700–$1,000 a month, is a big chunk of that. Unfortunately, she hasn’t been able to get unemployment benefits because so much of her work prior to the pandemic wasn’t formally documented. But she did receive two COVID-relief artist grants of $500 each.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the uncertainty, Monet remains undeterred, and encourages other performing artists to experiment with ways to continue their craft in the era of social distancing—even if it’s a bit glitchy at first. “The more you do something, the more you learn,” she says. “If you make a mistake on your stream and the microphone wasn’t working and it looks bad, use that as part of your learning process.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Even before sheltering in place, \u003ca href=\"https://www.studsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a> thrived in San Francisco against all odds. The LGBTQ+ club, open since 1966, operates under a collective ownership model, sells cheap drinks and—in contrast to the sterile, monochrome vibe of newer bars—champions camp, glitter and weird, performance art-y drag you won’t find on VH1.\u003c/p>\n\u003cp>As we all pivot to streaming for recreation, entertainment and human interaction, The Stud moves its weekly drag show “\u003ca href=\"https://www.twitch.tv/dragalive\" target=\"_blank\" rel=\"noopener noreferrer\">Drag Alive!\u003c/a>” online, with a Twitch stream taking place every Saturday, 6:30–8pm. The first edition is hosted by Stud co-owner and drag queen VivvyAnne Forevermore, along with club mainstay Jillian Gnarling, known for pairing cute femininity with body horror special effects makeup.\u003c/p>\n\u003cp>The lineup of performers—some streaming pre-recorded numbers and others performing live—includes a number of San Francisco’s best-known queens, including Peaches Christ, Honey Mahogany and Christeene.\u003c/p>\n\u003cp>https://twitter.com/PeachesChrist/status/1245791697990082566?s=20\u003c/p>\n\u003cp>In addition to The Stud, popular San Francisco drag club \u003ca href=\"https://sfoasis.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oasis\u003c/a>, the typical tour stop for larger drag productions and gay-friendly concerts, is going online with \u003ca href=\"https://www.youtube.com/channel/UCFX1qGPFvK-hfo1A-1iJYVA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube performances\u003c/a> several times a week. After tonight’s \u003cem>Golden Girls\u003c/em>-themed evening, the next performance is on April 4: a drag parody of \u003cem>Trog\u003c/em>, a so-bad-it’s-good British horror movie from the 1970s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And San Francisco avant-garde drag collective \u003ca href=\"https://www.instagram.com/p/B-a-n8bB34O/\" target=\"_blank\" rel=\"noopener noreferrer\">Toxic Waste Face\u003c/a>, whose ambitious art films and performances have been featured at Art Basel Miami Beach, goes live on \u003ca href=\"https://www.twitch.tv/toxicwasteface\" target=\"_blank\" rel=\"noopener noreferrer\">Twitch\u003c/a> at 5:30pm, April 4 with a 30-minute short film.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite current limitations, we’re happy to report that drag is alive and well. As you stream these performances, remember to tip your queens so it stays that way.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even before sheltering in place, \u003ca href=\"https://www.studsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a> thrived in San Francisco against all odds. The LGBTQ+ club, open since 1966, operates under a collective ownership model, sells cheap drinks and—in contrast to the sterile, monochrome vibe of newer bars—champions camp, glitter and weird, performance art-y drag you won’t find on VH1.\u003c/p>\n\u003cp>As we all pivot to streaming for recreation, entertainment and human interaction, The Stud moves its weekly drag show “\u003ca href=\"https://www.twitch.tv/dragalive\" target=\"_blank\" rel=\"noopener noreferrer\">Drag Alive!\u003c/a>” online, with a Twitch stream taking place every Saturday, 6:30–8pm. The first edition is hosted by Stud co-owner and drag queen VivvyAnne Forevermore, along with club mainstay Jillian Gnarling, known for pairing cute femininity with body horror special effects makeup.\u003c/p>\n\u003cp>The lineup of performers—some streaming pre-recorded numbers and others performing live—includes a number of San Francisco’s best-known queens, including Peaches Christ, Honey Mahogany and Christeene.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In addition to The Stud, popular San Francisco drag club \u003ca href=\"https://sfoasis.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oasis\u003c/a>, the typical tour stop for larger drag productions and gay-friendly concerts, is going online with \u003ca href=\"https://www.youtube.com/channel/UCFX1qGPFvK-hfo1A-1iJYVA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube performances\u003c/a> several times a week. After tonight’s \u003cem>Golden Girls\u003c/em>-themed evening, the next performance is on April 4: a drag parody of \u003cem>Trog\u003c/em>, a so-bad-it’s-good British horror movie from the 1970s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And San Francisco avant-garde drag collective \u003ca href=\"https://www.instagram.com/p/B-a-n8bB34O/\" target=\"_blank\" rel=\"noopener noreferrer\">Toxic Waste Face\u003c/a>, whose ambitious art films and performances have been featured at Art Basel Miami Beach, goes live on \u003ca href=\"https://www.twitch.tv/toxicwasteface\" target=\"_blank\" rel=\"noopener noreferrer\">Twitch\u003c/a> at 5:30pm, April 4 with a 30-minute short film.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite current limitations, we’re happy to report that drag is alive and well. As you stream these performances, remember to tip your queens so it stays that way.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The last few days of sheltering in place have been hard enough since the Bay Area adopted the ordinance Tuesday, and those of us who are used to being about town on Friday nights are about to get antsier come this weekend. Thankfully, over a dozen drag performers from different cities have teamed up for Digital Drag, presented by Biqtch and Megna.\u003c/p>\n\u003cp>Hosted on \u003ca href=\"https://www.twitch.tv/biqtchpuddin\" target=\"_blank\" rel=\"noopener noreferrer\">Biqtch’s Twitch\u003c/a> channel on March 20 at 7pm PDT, the livestreamed show features \u003ca href=\"https://www.instagram.com/theonlyalaska5000/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Alaska\u003c/a> and \u003ca href=\"https://www.instagram.com/rockmsakura/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Rock M. Sakura\u003c/a> of \u003cem>RuPaul’s Drag Race\u003c/em> fame, plus a slate of talent that includes Bay Area favorite \u003ca href=\"https://www.kqed.org/arts/13835533/nicki-jizzs-daring-drag-puts-performers-of-color-in-the-spotlight\" target=\"_blank\" rel=\"noopener noreferrer\">Nicki Jizz\u003c/a>, the sex-positive queen whose Hoe is Life party puts queens of color front and center. Joining Jizz is \u003ca href=\"https://www.instagram.com/floridamaniac/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Florida Man\u003c/a>, also from San Francisco, a wonderfully out-there performer whose \u003ca href=\"https://www.youtube.com/watch?time_continue=228&v=yVfULwWFFb0&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">sexy Voldemort\u003c/a> (yes, you read that correctly) drag number went down in herstory after going viral in 2018.\u003c/p>\n\u003cp>While the audience typically showers drag queens in dollar bills at IRL performances, Digital Drag asks for a $10 suggested donation and will have options to tip its stars. Sounds like a perfect Friday night activity to pair with a stiff “quarantini” cocktail. \u003cem>–Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://www.instagram.com/p/B9zH721BBrW/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last few days of sheltering in place have been hard enough since the Bay Area adopted the ordinance Tuesday, and those of us who are used to being about town on Friday nights are about to get antsier come this weekend. Thankfully, over a dozen drag performers from different cities have teamed up for Digital Drag, presented by Biqtch and Megna.\u003c/p>\n\u003cp>Hosted on \u003ca href=\"https://www.twitch.tv/biqtchpuddin\" target=\"_blank\" rel=\"noopener noreferrer\">Biqtch’s Twitch\u003c/a> channel on March 20 at 7pm PDT, the livestreamed show features \u003ca href=\"https://www.instagram.com/theonlyalaska5000/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Alaska\u003c/a> and \u003ca href=\"https://www.instagram.com/rockmsakura/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Rock M. Sakura\u003c/a> of \u003cem>RuPaul’s Drag Race\u003c/em> fame, plus a slate of talent that includes Bay Area favorite \u003ca href=\"https://www.kqed.org/arts/13835533/nicki-jizzs-daring-drag-puts-performers-of-color-in-the-spotlight\" target=\"_blank\" rel=\"noopener noreferrer\">Nicki Jizz\u003c/a>, the sex-positive queen whose Hoe is Life party puts queens of color front and center. Joining Jizz is \u003ca href=\"https://www.instagram.com/floridamaniac/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Florida Man\u003c/a>, also from San Francisco, a wonderfully out-there performer whose \u003ca href=\"https://www.youtube.com/watch?time_continue=228&v=yVfULwWFFb0&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">sexy Voldemort\u003c/a> (yes, you read that correctly) drag number went down in herstory after going viral in 2018.\u003c/p>\n\u003cp>While the audience typically showers drag queens in dollar bills at IRL performances, Digital Drag asks for a $10 suggested donation and will have options to tip its stars. Sounds like a perfect Friday night activity to pair with a stiff “quarantini” cocktail. \u003cem>–Nastia Voynovskaya\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
