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"content": "\u003cp>\u003ci>Editor’s Note: \u003c/i>The Changing Face of Drag\u003ci> is a five-part KQED Arts series spotlighting innovative performers pushing the boundaries of drag in the Bay Area. 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Pay me in Bitcoin!” Laughter, cheers and crumpled dollar bills erupt from the audience.\u003c/p>\n\u003cp>Nicki’s standing in for Mother’s regular host (and Oasis co-owner) Heklina, introducing the performers for a Janelle Monáe tribute night. Between acts, she strides around the stage, heckling the audience, commanding them to “clap, bitches!” and relating a story about how, this one time, she broke a guy’s ribs just by dancing.\u003c/p>\n\u003cp>“My drag is very ‘unapologetic hoe,’” says Nick Marshall of his drag persona Nicki Jizz. “That’s just who she is. I’m very fun and flirty, but I’m also that best friend.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nicki is best known for hosting her own parties with \u003ca href=\"https://www.instagram.com/hoeislifesf/?hl=en\" target=\"_blank\" rel=\"noopener\">Haus of Hoe\u003c/a> (made up of Nicki, \u003ca href=\"https://www.instagram.com/sessipapi_fiera/?hl=en\" target=\"_blank\" rel=\"noopener\">Fíera\u003c/a> and \u003ca href=\"https://www.instagram.com/godzlilprinc3ss/?hl=en\" target=\"_blank\" rel=\"noopener\">God’s Lil’ Princess\u003c/a>) at El Rio and the Stud. She’s committed to booking queer and trans artists of color and delivering “sex-positive dance and daring drag.”\u003c/p>\n\u003cp>“We are an open, very diverse crowd and we like to book from everywhere,” Marshall says. “But in the city, most of the performers aren’t POC. And we want to make sure that we have a platform for them. We just want to make sure everyone’s included, as they should be.”\u003c/p>\n\u003cfigure id=\"attachment_13835543\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835543\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/NickiJizz-4.jpg\" alt=\"Nicki Jizz against the Oakland skyline.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-4.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-4-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz against the Oakland skyline. \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each of their Hoe is Life parties takes on a different, often hilarious theme: Hoe is Quinceañera; Hoe is Coven; and Hoe is New York, a Tiffany Pollard (of reality television fame) tribute night. “We did Hoe is Hot Dog once for the Fourth of July,” Marshall says. “It was one of the most ridiculous shows ever. I just walked around the club during the number shoving hot dogs in people’s faces.”\u003c/p>\n\u003cp>Marshall started doing drag in 2015, during a work party at Brick & Mortar for Amoeba Records, where he still works full time in addition to three to five drag gigs a week. “I did like this eight-minute Beyoncé medley,” Marshall remembers. “I didn’t shave, all I had on was eyeliner, a lipstick and some blush and I thought I was the cutest girl in the world.”\u003c/p>\n\u003cp>The excitement of that first performance, along with regular visits to drag nights at the Stud, eventually propelled Marshall onto the stage. “Now they have to drag me off it!” he says. Over the past three years of doing drag, Marshall credits the art form—and its surrounding community—with being an enormous influence on his life. “I’ve met some of my really good friends. I’ve learned a lot about myself as a person and about myself as a drag performer—what my limits are and what I can and can’t do.”\u003c/p>\n\u003cfigure id=\"attachment_13835542\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835542\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/NickiJizz-3.jpg\" alt=\"Nicki Jizz on an Oakland rooftop.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-3-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz on an Oakland rooftop. \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nicki’s a member of the House of More, a legendary Bay Area drag house founded by \u003ca href=\"https://www.instagram.com/Mr.davidglamamore/\" target=\"_blank\" rel=\"noopener\">Glamamore\u003c/a> in the ’80s. Nicki is part of the house’s third generation—her drag mom is \u003ca href=\"https://www.instagram.com/aka.that.bitch/\" target=\"_blank\" rel=\"noopener\">Rahni NothingMore\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics\" target=\"_blank\" rel=\"noopener\">Juanita MORE!\u003c/a> (also profiled in \u003cem>The Changing Face of Drag\u003c/em>) is her drag aunt. Through that extended family, Marshall’s learned about the history of drag, and the performers who paved the way for Nicki Jizz. It’s a legacy he says young drag queens often take for granted.\u003c/p>\n\u003cp>“Drag was not invented by somebody out of the blue,” Marshall says. “It’s something that’s been built and put together, just like you built and put your face together. And it comes from all walks of life. It’s that beautiful collage that makes it worthwhile.”\u003c/p>\n\u003cp>“Someone asked me once, ‘What does it take to be part of the House of More?’ You have to be good at everything,” Marshall says.\u003c/p>\n\u003cp>As an example of just how much Nicki can do, Marshall describes his favorite performance, which happened (only once) at Vivvy’s Grand Opening at the \u003ca href=\"https://www.studsf.com/\" target=\"_blank\" rel=\"noopener\">Stud\u003c/a>. It was a Beyoncé medley (of course). Nicki entered as the villain Samara from the horror movie \u003ci>The Ring\u003c/i>; lip synced to “\u003ca href=\"https://youtu.be/c4cIBw_yFM4\" target=\"_blank\" rel=\"noopener\">Ring Off\u003c/a>;” ran offstage to remove her wig and reemerge as Gollum in a bald cap and loincloth; lip synced to “\u003ca href=\"https://youtu.be/eY_mrU8MPfI\" target=\"_blank\" rel=\"noopener\">Ring the Alarm\u003c/a>” (sensing a pattern here?); performed a Sméagol monologue from \u003ci>The Hobbit;\u003c/i> then closed it all out with hobbit backup dancers in perfect choreography to “\u003ca href=\"https://youtu.be/4m1EFMoRFvY\" target=\"_blank\" rel=\"noopener\">Single Ladies\u003c/a>.”\u003c/p>\n\u003cp>Consider it Nicki Jizz’s very own \u003ca href=\"https://www.pbs.org/video/great-performances-wagners-ring-cycle-preview/\" target=\"_blank\" rel=\"noopener\">Ring Cycle\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13835541\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835541\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/NickiJizz-2.jpg\" alt=\"Nicki Jizz in Oakland.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-2-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz in Oakland. \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s great to see that this field of art is finally being recognized as really art and as a job,” Marshall says. “Because it \u003ci>is\u003c/i> a job. I have my day job, and I have my night job.” The popular VH1 show \u003ci>RuPaul’s Drag Race\u003c/i>, he says, shows people just how much work goes into being a drag performer. “It’s not just a man in a dress. It’s the energy, the personality, the persona that people are seeing. It takes a lot of time to build that.”\u003c/p>\n\u003cp>On weeknights when he performs, Marshall works an eight hour day, comes home to paint (do Nicki’s makeup) for two hours, then gets home from the club around 2:30am, sometimes doing it all over again the next day.\u003c/p>\n\u003cp>Although some traditionalists view drag as an art form for cisgender men dressing up as women, Marshall heartily disagrees, praising the gender-diversity of the local scene. “I think anyone can do drag. If you want to go out there and perform and give somebody life, then go out there and do it. I don’t care what you identify as or how you want to present,” he says. “I don’t see how you could exclude anyone from something that magical.”\u003c/p>\n\u003cfigure id=\"attachment_13835540\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835540\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/NickiJizz-1.jpg\" alt=\"Nicki Jizz in Oakland.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-1-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz in Oakland. \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Especially in the Bay Area, Marshall says, the performers pushing the art form into new and exciting directions are often transgender, people of color, women-identified or non-binary. “I’m all about supporting local drag,” he says. “I mean some of those girls just turn it out so well, and I want them to be appreciated for all the talent they have.”\u003c/p>\n\u003cp>Instead of spending $30 on a meet-and-greet with one of the stars of \u003ci>RuPaul’s Drag Race\u003c/i>, Marshall suggests, go to a local drag show and see six or eight amazing performers for one-third the price.\u003c/p>\n\u003cp>At the recent showcase \u003ca href=\"https://www.oaklash.com/\" target=\"_blank\" rel=\"noopener\">Oaklash\u003c/a>, a new festival of Bay Area drag and queer performance, the ladies of Haus of Hoe closed out the night with a 15-minute medley. “It was all these different parties and collectives coming together and showing this is what Bay Area drag is,” Marshall says of the event, organized by \u003ca href=\"https://www.instagram.com/itsmamaceleste/?hl=en\" target=\"_blank\" rel=\"noopener\">Mama Celeste\u003c/a> and \u003ca href=\"https://www.instagram.com/beatrixlahaine/?hl=en\" target=\"_blank\" rel=\"noopener\">Beatrix LaHaine\u003c/a>. “It was beautiful.”\u003c/p>\n\u003cp>A sense of local pride and a knowledge of the Bay Area’s rich drag history helps Marshall set his sights on what he wants for Nicki Jizz’s future. “I don’t need to be world-famous, but I want to be the queen of my city,” he says. “I want to be that hoe that gives back.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13835025\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Catch Nicki Jizz at 3pm on Saturday, June 23 on the \u003ca href=\"http://www.sfpride.org/main-stage/\" target=\"_blank\" rel=\"noopener\">Pride main stage\u003c/a> with other performers from the Stud, and later that night at SVN WEST as part of \u003ca href=\"http://juanitamore.com/events/jmpride2018/nighttime\" target=\"_blank\" rel=\"noopener\">Juanita MORE!’s Pride party\u003c/a>. On Sunday, June 24, Nicki returns to the \u003ca href=\"http://www.sfpride.org/main-stage/\" target=\"_blank\" rel=\"noopener\">Pride main stage\u003c/a> at 3pm with Mr. David Glamamore’s fashion show.\u003c/i>\u003c/p>\n\n",
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"title": "Nicki Jizz's Daring Drag Puts Performers of Color in the Spotlight | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Editor’s Note: \u003c/i>The Changing Face of Drag\u003ci> is a five-part KQED Arts series spotlighting innovative performers pushing the boundaries of drag in the Bay Area. Click to read more \u003ca href=\"https://www.kqed.org/arts/series/changing-face-of-drag\" target=\"_blank\" rel=\"noopener\">about the series\u003c/a>.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13835539\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835539\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/nickiinfo.png\" alt=\"Creo Noveno/KQED\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/nickiinfo.png 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/nickiinfo-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/nickiinfo-240x320.png 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Creo Noveno/KQED\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/nicki_jizz/?hl=en\" target=\"_blank\" rel=\"noopener\">Nicki Jizz\u003c/a> stands on the Oasis stage in six-inch heels and a sparkly leotard for the SoMA club’s weekly Saturday night drag show, \u003ca href=\"https://sfoasis.com/mother\" target=\"_blank\" rel=\"noopener\">Mother\u003c/a>, yelling at the crowd below, “Where’s my Bitcoin?!”\u003c/p>\n\u003cp>“I just learned about Bitcoin! Pay me in Bitcoin!” Laughter, cheers and crumpled dollar bills erupt from the audience.\u003c/p>\n\u003cp>Nicki’s standing in for Mother’s regular host (and Oasis co-owner) Heklina, introducing the performers for a Janelle Monáe tribute night. Between acts, she strides around the stage, heckling the audience, commanding them to “clap, bitches!” and relating a story about how, this one time, she broke a guy’s ribs just by dancing.\u003c/p>\n\u003cp>“My drag is very ‘unapologetic hoe,’” says Nick Marshall of his drag persona Nicki Jizz. “That’s just who she is. I’m very fun and flirty, but I’m also that best friend.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nicki is best known for hosting her own parties with \u003ca href=\"https://www.instagram.com/hoeislifesf/?hl=en\" target=\"_blank\" rel=\"noopener\">Haus of Hoe\u003c/a> (made up of Nicki, \u003ca href=\"https://www.instagram.com/sessipapi_fiera/?hl=en\" target=\"_blank\" rel=\"noopener\">Fíera\u003c/a> and \u003ca href=\"https://www.instagram.com/godzlilprinc3ss/?hl=en\" target=\"_blank\" rel=\"noopener\">God’s Lil’ Princess\u003c/a>) at El Rio and the Stud. She’s committed to booking queer and trans artists of color and delivering “sex-positive dance and daring drag.”\u003c/p>\n\u003cp>“We are an open, very diverse crowd and we like to book from everywhere,” Marshall says. “But in the city, most of the performers aren’t POC. And we want to make sure that we have a platform for them. We just want to make sure everyone’s included, as they should be.”\u003c/p>\n\u003cfigure id=\"attachment_13835543\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835543\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/NickiJizz-4.jpg\" alt=\"Nicki Jizz against the Oakland skyline.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-4.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-4-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz against the Oakland skyline. \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each of their Hoe is Life parties takes on a different, often hilarious theme: Hoe is Quinceañera; Hoe is Coven; and Hoe is New York, a Tiffany Pollard (of reality television fame) tribute night. “We did Hoe is Hot Dog once for the Fourth of July,” Marshall says. “It was one of the most ridiculous shows ever. I just walked around the club during the number shoving hot dogs in people’s faces.”\u003c/p>\n\u003cp>Marshall started doing drag in 2015, during a work party at Brick & Mortar for Amoeba Records, where he still works full time in addition to three to five drag gigs a week. “I did like this eight-minute Beyoncé medley,” Marshall remembers. “I didn’t shave, all I had on was eyeliner, a lipstick and some blush and I thought I was the cutest girl in the world.”\u003c/p>\n\u003cp>The excitement of that first performance, along with regular visits to drag nights at the Stud, eventually propelled Marshall onto the stage. “Now they have to drag me off it!” he says. Over the past three years of doing drag, Marshall credits the art form—and its surrounding community—with being an enormous influence on his life. “I’ve met some of my really good friends. I’ve learned a lot about myself as a person and about myself as a drag performer—what my limits are and what I can and can’t do.”\u003c/p>\n\u003cfigure id=\"attachment_13835542\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835542\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/NickiJizz-3.jpg\" alt=\"Nicki Jizz on an Oakland rooftop.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-3-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz on an Oakland rooftop. \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nicki’s a member of the House of More, a legendary Bay Area drag house founded by \u003ca href=\"https://www.instagram.com/Mr.davidglamamore/\" target=\"_blank\" rel=\"noopener\">Glamamore\u003c/a> in the ’80s. Nicki is part of the house’s third generation—her drag mom is \u003ca href=\"https://www.instagram.com/aka.that.bitch/\" target=\"_blank\" rel=\"noopener\">Rahni NothingMore\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics\" target=\"_blank\" rel=\"noopener\">Juanita MORE!\u003c/a> (also profiled in \u003cem>The Changing Face of Drag\u003c/em>) is her drag aunt. Through that extended family, Marshall’s learned about the history of drag, and the performers who paved the way for Nicki Jizz. It’s a legacy he says young drag queens often take for granted.\u003c/p>\n\u003cp>“Drag was not invented by somebody out of the blue,” Marshall says. “It’s something that’s been built and put together, just like you built and put your face together. And it comes from all walks of life. It’s that beautiful collage that makes it worthwhile.”\u003c/p>\n\u003cp>“Someone asked me once, ‘What does it take to be part of the House of More?’ You have to be good at everything,” Marshall says.\u003c/p>\n\u003cp>As an example of just how much Nicki can do, Marshall describes his favorite performance, which happened (only once) at Vivvy’s Grand Opening at the \u003ca href=\"https://www.studsf.com/\" target=\"_blank\" rel=\"noopener\">Stud\u003c/a>. It was a Beyoncé medley (of course). Nicki entered as the villain Samara from the horror movie \u003ci>The Ring\u003c/i>; lip synced to “\u003ca href=\"https://youtu.be/c4cIBw_yFM4\" target=\"_blank\" rel=\"noopener\">Ring Off\u003c/a>;” ran offstage to remove her wig and reemerge as Gollum in a bald cap and loincloth; lip synced to “\u003ca href=\"https://youtu.be/eY_mrU8MPfI\" target=\"_blank\" rel=\"noopener\">Ring the Alarm\u003c/a>” (sensing a pattern here?); performed a Sméagol monologue from \u003ci>The Hobbit;\u003c/i> then closed it all out with hobbit backup dancers in perfect choreography to “\u003ca href=\"https://youtu.be/4m1EFMoRFvY\" target=\"_blank\" rel=\"noopener\">Single Ladies\u003c/a>.”\u003c/p>\n\u003cp>Consider it Nicki Jizz’s very own \u003ca href=\"https://www.pbs.org/video/great-performances-wagners-ring-cycle-preview/\" target=\"_blank\" rel=\"noopener\">Ring Cycle\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13835541\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835541\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/NickiJizz-2.jpg\" alt=\"Nicki Jizz in Oakland.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-2-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz in Oakland. \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s great to see that this field of art is finally being recognized as really art and as a job,” Marshall says. “Because it \u003ci>is\u003c/i> a job. I have my day job, and I have my night job.” The popular VH1 show \u003ci>RuPaul’s Drag Race\u003c/i>, he says, shows people just how much work goes into being a drag performer. “It’s not just a man in a dress. It’s the energy, the personality, the persona that people are seeing. It takes a lot of time to build that.”\u003c/p>\n\u003cp>On weeknights when he performs, Marshall works an eight hour day, comes home to paint (do Nicki’s makeup) for two hours, then gets home from the club around 2:30am, sometimes doing it all over again the next day.\u003c/p>\n\u003cp>Although some traditionalists view drag as an art form for cisgender men dressing up as women, Marshall heartily disagrees, praising the gender-diversity of the local scene. “I think anyone can do drag. If you want to go out there and perform and give somebody life, then go out there and do it. I don’t care what you identify as or how you want to present,” he says. “I don’t see how you could exclude anyone from something that magical.”\u003c/p>\n\u003cfigure id=\"attachment_13835540\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835540\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/NickiJizz-1.jpg\" alt=\"Nicki Jizz in Oakland.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NickiJizz-1-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz in Oakland. \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Especially in the Bay Area, Marshall says, the performers pushing the art form into new and exciting directions are often transgender, people of color, women-identified or non-binary. “I’m all about supporting local drag,” he says. “I mean some of those girls just turn it out so well, and I want them to be appreciated for all the talent they have.”\u003c/p>\n\u003cp>Instead of spending $30 on a meet-and-greet with one of the stars of \u003ci>RuPaul’s Drag Race\u003c/i>, Marshall suggests, go to a local drag show and see six or eight amazing performers for one-third the price.\u003c/p>\n\u003cp>At the recent showcase \u003ca href=\"https://www.oaklash.com/\" target=\"_blank\" rel=\"noopener\">Oaklash\u003c/a>, a new festival of Bay Area drag and queer performance, the ladies of Haus of Hoe closed out the night with a 15-minute medley. “It was all these different parties and collectives coming together and showing this is what Bay Area drag is,” Marshall says of the event, organized by \u003ca href=\"https://www.instagram.com/itsmamaceleste/?hl=en\" target=\"_blank\" rel=\"noopener\">Mama Celeste\u003c/a> and \u003ca href=\"https://www.instagram.com/beatrixlahaine/?hl=en\" target=\"_blank\" rel=\"noopener\">Beatrix LaHaine\u003c/a>. “It was beautiful.”\u003c/p>\n\u003cp>A sense of local pride and a knowledge of the Bay Area’s rich drag history helps Marshall set his sights on what he wants for Nicki Jizz’s future. “I don’t need to be world-famous, but I want to be the queen of my city,” he says. “I want to be that hoe that gives back.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13835025\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" 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>\u003ci>Catch Nicki Jizz at 3pm on Saturday, June 23 on the \u003ca href=\"http://www.sfpride.org/main-stage/\" target=\"_blank\" rel=\"noopener\">Pride main stage\u003c/a> with other performers from the Stud, and later that night at SVN WEST as part of \u003ca href=\"http://juanitamore.com/events/jmpride2018/nighttime\" target=\"_blank\" rel=\"noopener\">Juanita MORE!’s Pride party\u003c/a>. On Sunday, June 24, Nicki returns to the \u003ca href=\"http://www.sfpride.org/main-stage/\" target=\"_blank\" rel=\"noopener\">Pride main stage\u003c/a> at 3pm with Mr. David Glamamore’s fashion show.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bearded-drag-queen-trangela-lansbury-paints-herself-into-a-comic-book-universe",
"title": "Bearded Drag Queen Trangela Lansbury Paints Herself into a Comic Universe",
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"headTitle": "Bearded Drag Queen Trangela Lansbury Paints Herself into a Comic Universe | KQED",
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"content": "\u003cp>\u003cem>Editor’s Note: \u003c/em>The Changing Face of Drag\u003cem> is a five-part KQED Arts series spotlighting innovative performers pushing the boundaries of drag in the Bay Area. Click to read more \u003ca href=\"https://www.kqed.org/arts/series/changing-face-of-drag\" target=\"_blank\" rel=\"noopener\">about the series\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Stepping into Diego Gomez’s Tenderloin apartment feels like being painted into the pages of an\u003cem> X-Men\u003c/em> comic. The walls are splashed with bright, radioactive colors and covered with posters of Storm, Rogue and company saving the world (or just \u003ca href=\"https://i.pinimg.com/originals/9a/2f/3d/9a2f3d2631bef6714b639ed1ba0dc9f0.jpg\" target=\"_blank\" rel=\"noopener\">kicking it poolside\u003c/a>). A dying Captain Planet and a skeletal Gaia make a startling cameo. And Björk and Marilyn Monroe crash the party, too. It’s pop culture sensory overload at its best.\u003c/p>\n\u003cfigure id=\"attachment_13835649\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835649\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/trangelainfo-1.png\" alt=\"\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/trangelainfo-1.png 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/trangelainfo-1-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/trangelainfo-1-240x320.png 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Creo Noveno/KQED\u003c/figcaption>\u003c/figure>\n\u003cp>As Gomez pours me homemade lemonade—laced with lavender to ease anxiety—into a Wonder Woman mug, I gaze up at the kitchen ceiling and find another unexpected hero gazing down at me: it’s a huge portrait of Gomez’ drag alter ego, Trangela Lansbury, whose latex catsuits would make her a natural fit for the \u003cem>X-Men\u003c/em> universe. Her face is beat for the gods (translation for heterosexuals: her makeup is so impeccable, it’s divine). And unlike most drag queens, she rocks a full beard, covered in colored glitter.\u003c/p>\n\u003cp>As \u003cem>RuPaul’s Drag Race\u003c/em> pushes drag further into the mainstream, fans have come to expect certain drag archetypes: there are the old-school, big-haired pageant girls and the “fishy” queens dedicated to looking as womanly as possible. Then there are the comedy queens, the artsy queens and the crafty queens. But bearded cosplay queens? Not so much. At least not yet.\u003c/p>\n\u003cfigure id=\"attachment_13835515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835515\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A6037-800x533.jpg\" alt=\"Drag queen Trangela Lansbury embraces her beard as part of her gender-bending look.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drag queen Trangela Lansbury embraces her beard as part of her gender-bending look. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trangela Lansbury doesn’t fit into a mainstream box. (A comic strip one, maybe.) Instead, her superpowers are expectation-busting and shape-shifting. One night, she’s a seductive Mystique, the next she’s \u003ca href=\"https://www.instagram.com/p/Be3cCUsjNcP/?taken-by=designnurd\" target=\"_blank\" rel=\"noopener\">a bald Professor X\u003c/a>, then \u003ca href=\"https://www.instagram.com/p/BTedPCnDB3N/?taken-by=designnurd\" target=\"_blank\" rel=\"noopener\">a sea monster\u003c/a>, or Sailor Venus or \u003ca href=\"https://www.instagram.com/p/BMK3UiIB_S3/?taken-by=designnurd\" target=\"_blank\" rel=\"noopener\">a piece of Warhol pop art\u003c/a>. Like the last few minutes of a thriller, it’s hard to know what twist or turn Lansbury will serve up next.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Embracing being different didn’t always come easily for Gomez, though. He grew up in an “overprotective” Mexican, Catholic home in Daly City, and, as a young boy, he remembers feeling isolated and lonely. Comic books were how he discovered himself and his queerness. “Daly City was never an understanding place for me,” he says.\u003c/p>\n\u003cp>“Besides them being hella colorful, it’s a civil rights allegory,” he continues. “Professor X is supposed to be kind of like Martin Luther King, Jr., and Magneto is supposed to be kind of like Malcolm X. Basically, it’s about not being treated as well just because you’re born different. That was relatable content for me.”\u003c/p>\n\u003cp>Another way Gomez coped with his surroundings was by making art of his own. “When the kids didn’t want to play with me because I was gay, I would just draw and paint. I still escape into drawing and painting constantly.”\u003c/p>\n\u003cp>As he tells me this, his hands are feverishly at work, painting a cardboard mask for an upcoming performance. (Outside of drag, Gomez is a freelance designer and \u003ca href=\"https://www.kqed.org/arts/13819139/a-drag-artists-look-back-at-1963\" target=\"_blank\" rel=\"noopener\">illustrator\u003c/a>, and teaches fashion illustration at San Francisco City College.)\u003c/p>\n\u003cfigure id=\"attachment_13835517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835517\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A5591-800x533.jpg\" alt=\"Comic books and cosplay are major inspirations for Trangela Lansbury's drag.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comic books and cosplay are major inspirations for Trangela Lansbury’s drag. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After years of drawing and painting, Gomez turned his brush away from the canvas and toward his own face. When he moved to San Francisco and saw a few drag shows, he decided to try it out. “For some reason, I thought it would be easy, but no, not so much,” he says. “A lot of people looked a mess, but it wasn’t even easy to attain that mess for me. Some people are pretty twinks, and they’re like, ‘Ooh! Lip gloss! Look, I’m a female!’ It wasn’t that way for me.”\u003c/p>\n\u003cp>Gomez took a few wobbly drag baby steps, first dressing up as Princess Lollipop at a Candy Land-themed house party, then as a rollerblading swan-dress-wearing Björk at a tribute dance party, and then, at his first real gig, as a Budweiser can with rolled up socks for breasts, a child’s Halloween tutu around his waist and a braid he found in the street attached to his head.\u003c/p>\n\u003cp>Somewhere along the way, Trangela was born. (No one said coming into this world was pretty.) And she’s come a long way over the last eight years. Want proof? Look no further than Instagram. If you search “drag” in its GIFs, the first result is a glam version of Donald Trump that none of us asked for, followed by one of the most famous girls to come out of \u003cem>Drag Race\u003c/em>, Trixie Mattel. Then there’s Trangela Lansbury, wearing a gold tinsel wig, shaking with anxiety.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13835527\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/IMG_0253.png\" alt=\"\" width=\"220\" height=\"391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_0253.png 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_0253-160x285.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_0253-675x1200.png 675w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_0253-240x427.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_0253-375x667.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_0253-520x925.png 520w\" sizes=\"(max-width: 220px) 100vw, 220px\">\u003c/p>\n\u003cp>“How did that even happen?!” Gomez asks himself while showing me the GIF search results on his phone. He’s incredulous, but pleased with what he feels is an accurate representation of his true essence.\u003c/p>\n\u003cp>“If I had a drag persona, it would basically be this,” he says. “But this is my guy persona too. The worried face—it’s kind of how I feel all the time.” As I take another sip of my anxiety-fighting lavender lemonade, I tell him he’s a relatable queen and a champion for anxious people everywhere.\u003c/p>\n\u003cp>While drag queens with beards are uncommon (and there’s a stereotype that they don’t take the art form seriously), Gomez embraces his beard as something that makes him stand out. With the huge success of \u003cem>Drag Race\u003c/em> and the advent of YouTube makeup tutorials, there are more resources that save new queens years of trial and error (and looking like a hot mess). But that has its drawbacks.\u003c/p>\n\u003cp>“Everyone has turned into the same drag queen, pretty much,” Gomez says. “In a way, it’s nice because we’ve all found out what works to cancel out masculine features. Everyone is a lot more polished. But there are still some people that aren’t polished, and I actually prefer that.”\u003c/p>\n\u003cfigure id=\"attachment_13835514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835514\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A6095-800x533.jpg\" alt=\"Outside of drag, Trangela Lansbury is a graphic designer and artist. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside of drag, Trangela Lansbury is a graphic designer and artist. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even as \u003cem>Drag Race\u003c/em> gets more popular, the underground drag community Gomez is a part of still gets overlooked. Local queens don’t get the same rabid applause or fatty paychecks as the personalities we’ve seen on TV. But Gomez is still in love with the intimacy of watching a queen do her thing in a small club like the Stud, where he hosts his cosplay-themed drag party, BoobTube.\u003c/p>\n\u003cp>“I don’t like stadium-style drag,” he says. “I like to be right in the queen’s face, seeing her sweat drop.”\u003c/p>\n\u003cp>So what inspires Diego to keep transforming into Trangela’s many incarnations? “It’s just something that’s in me that I have to do. I can’t help myself,” he says. “If I was already seeing someone doing exactly what I needed, maybe I wouldn’t have started. Now I’m addicted and can’t stop. It’s too late to get out.”\u003c/p>\n\u003cp>Gomez takes a long pause, and even stops painting, as he decides on his final answer to my question of why he keeps doing drag. A smile creeps on his face. “Because the world needs me, that’s why!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Trangela Lansbury performs on the main stage of San Francisco Pride on June 23. Details \u003ca href=\"http://www.sfpride.org/wp-content/uploads/2018/06/RELEASE-Main-Stage-Announcement-06_01_2018-FINAL.pdf\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "Bearded Drag Queen Trangela Lansbury Paints Herself into a Comic Universe | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003c/em>The Changing Face of Drag\u003cem> is a five-part KQED Arts series spotlighting innovative performers pushing the boundaries of drag in the Bay Area. Click to read more \u003ca href=\"https://www.kqed.org/arts/series/changing-face-of-drag\" target=\"_blank\" rel=\"noopener\">about the series\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Stepping into Diego Gomez’s Tenderloin apartment feels like being painted into the pages of an\u003cem> X-Men\u003c/em> comic. The walls are splashed with bright, radioactive colors and covered with posters of Storm, Rogue and company saving the world (or just \u003ca href=\"https://i.pinimg.com/originals/9a/2f/3d/9a2f3d2631bef6714b639ed1ba0dc9f0.jpg\" target=\"_blank\" rel=\"noopener\">kicking it poolside\u003c/a>). A dying Captain Planet and a skeletal Gaia make a startling cameo. And Björk and Marilyn Monroe crash the party, too. It’s pop culture sensory overload at its best.\u003c/p>\n\u003cfigure id=\"attachment_13835649\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835649\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/trangelainfo-1.png\" alt=\"\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/trangelainfo-1.png 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/trangelainfo-1-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/trangelainfo-1-240x320.png 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Creo Noveno/KQED\u003c/figcaption>\u003c/figure>\n\u003cp>As Gomez pours me homemade lemonade—laced with lavender to ease anxiety—into a Wonder Woman mug, I gaze up at the kitchen ceiling and find another unexpected hero gazing down at me: it’s a huge portrait of Gomez’ drag alter ego, Trangela Lansbury, whose latex catsuits would make her a natural fit for the \u003cem>X-Men\u003c/em> universe. Her face is beat for the gods (translation for heterosexuals: her makeup is so impeccable, it’s divine). And unlike most drag queens, she rocks a full beard, covered in colored glitter.\u003c/p>\n\u003cp>As \u003cem>RuPaul’s Drag Race\u003c/em> pushes drag further into the mainstream, fans have come to expect certain drag archetypes: there are the old-school, big-haired pageant girls and the “fishy” queens dedicated to looking as womanly as possible. Then there are the comedy queens, the artsy queens and the crafty queens. But bearded cosplay queens? Not so much. At least not yet.\u003c/p>\n\u003cfigure id=\"attachment_13835515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835515\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A6037-800x533.jpg\" alt=\"Drag queen Trangela Lansbury embraces her beard as part of her gender-bending look.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6037.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drag queen Trangela Lansbury embraces her beard as part of her gender-bending look. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trangela Lansbury doesn’t fit into a mainstream box. (A comic strip one, maybe.) Instead, her superpowers are expectation-busting and shape-shifting. One night, she’s a seductive Mystique, the next she’s \u003ca href=\"https://www.instagram.com/p/Be3cCUsjNcP/?taken-by=designnurd\" target=\"_blank\" rel=\"noopener\">a bald Professor X\u003c/a>, then \u003ca href=\"https://www.instagram.com/p/BTedPCnDB3N/?taken-by=designnurd\" target=\"_blank\" rel=\"noopener\">a sea monster\u003c/a>, or Sailor Venus or \u003ca href=\"https://www.instagram.com/p/BMK3UiIB_S3/?taken-by=designnurd\" target=\"_blank\" rel=\"noopener\">a piece of Warhol pop art\u003c/a>. Like the last few minutes of a thriller, it’s hard to know what twist or turn Lansbury will serve up next.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Embracing being different didn’t always come easily for Gomez, though. He grew up in an “overprotective” Mexican, Catholic home in Daly City, and, as a young boy, he remembers feeling isolated and lonely. Comic books were how he discovered himself and his queerness. “Daly City was never an understanding place for me,” he says.\u003c/p>\n\u003cp>“Besides them being hella colorful, it’s a civil rights allegory,” he continues. “Professor X is supposed to be kind of like Martin Luther King, Jr., and Magneto is supposed to be kind of like Malcolm X. Basically, it’s about not being treated as well just because you’re born different. That was relatable content for me.”\u003c/p>\n\u003cp>Another way Gomez coped with his surroundings was by making art of his own. “When the kids didn’t want to play with me because I was gay, I would just draw and paint. I still escape into drawing and painting constantly.”\u003c/p>\n\u003cp>As he tells me this, his hands are feverishly at work, painting a cardboard mask for an upcoming performance. (Outside of drag, Gomez is a freelance designer and \u003ca href=\"https://www.kqed.org/arts/13819139/a-drag-artists-look-back-at-1963\" target=\"_blank\" rel=\"noopener\">illustrator\u003c/a>, and teaches fashion illustration at San Francisco City College.)\u003c/p>\n\u003cfigure id=\"attachment_13835517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835517\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A5591-800x533.jpg\" alt=\"Comic books and cosplay are major inspirations for Trangela Lansbury's drag.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A5591.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comic books and cosplay are major inspirations for Trangela Lansbury’s drag. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After years of drawing and painting, Gomez turned his brush away from the canvas and toward his own face. When he moved to San Francisco and saw a few drag shows, he decided to try it out. “For some reason, I thought it would be easy, but no, not so much,” he says. “A lot of people looked a mess, but it wasn’t even easy to attain that mess for me. Some people are pretty twinks, and they’re like, ‘Ooh! Lip gloss! Look, I’m a female!’ It wasn’t that way for me.”\u003c/p>\n\u003cp>Gomez took a few wobbly drag baby steps, first dressing up as Princess Lollipop at a Candy Land-themed house party, then as a rollerblading swan-dress-wearing Björk at a tribute dance party, and then, at his first real gig, as a Budweiser can with rolled up socks for breasts, a child’s Halloween tutu around his waist and a braid he found in the street attached to his head.\u003c/p>\n\u003cp>Somewhere along the way, Trangela was born. (No one said coming into this world was pretty.) And she’s come a long way over the last eight years. Want proof? Look no further than Instagram. If you search “drag” in its GIFs, the first result is a glam version of Donald Trump that none of us asked for, followed by one of the most famous girls to come out of \u003cem>Drag Race\u003c/em>, Trixie Mattel. Then there’s Trangela Lansbury, wearing a gold tinsel wig, shaking with anxiety.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13835527\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/IMG_0253.png\" alt=\"\" width=\"220\" height=\"391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_0253.png 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_0253-160x285.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_0253-675x1200.png 675w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_0253-240x427.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_0253-375x667.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_0253-520x925.png 520w\" sizes=\"(max-width: 220px) 100vw, 220px\">\u003c/p>\n\u003cp>“How did that even happen?!” Gomez asks himself while showing me the GIF search results on his phone. He’s incredulous, but pleased with what he feels is an accurate representation of his true essence.\u003c/p>\n\u003cp>“If I had a drag persona, it would basically be this,” he says. “But this is my guy persona too. The worried face—it’s kind of how I feel all the time.” As I take another sip of my anxiety-fighting lavender lemonade, I tell him he’s a relatable queen and a champion for anxious people everywhere.\u003c/p>\n\u003cp>While drag queens with beards are uncommon (and there’s a stereotype that they don’t take the art form seriously), Gomez embraces his beard as something that makes him stand out. With the huge success of \u003cem>Drag Race\u003c/em> and the advent of YouTube makeup tutorials, there are more resources that save new queens years of trial and error (and looking like a hot mess). But that has its drawbacks.\u003c/p>\n\u003cp>“Everyone has turned into the same drag queen, pretty much,” Gomez says. “In a way, it’s nice because we’ve all found out what works to cancel out masculine features. Everyone is a lot more polished. But there are still some people that aren’t polished, and I actually prefer that.”\u003c/p>\n\u003cfigure id=\"attachment_13835514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835514\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A6095-800x533.jpg\" alt=\"Outside of drag, Trangela Lansbury is a graphic designer and artist. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A6095.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside of drag, Trangela Lansbury is a graphic designer and artist. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even as \u003cem>Drag Race\u003c/em> gets more popular, the underground drag community Gomez is a part of still gets overlooked. Local queens don’t get the same rabid applause or fatty paychecks as the personalities we’ve seen on TV. But Gomez is still in love with the intimacy of watching a queen do her thing in a small club like the Stud, where he hosts his cosplay-themed drag party, BoobTube.\u003c/p>\n\u003cp>“I don’t like stadium-style drag,” he says. “I like to be right in the queen’s face, seeing her sweat drop.”\u003c/p>\n\u003cp>So what inspires Diego to keep transforming into Trangela’s many incarnations? “It’s just something that’s in me that I have to do. I can’t help myself,” he says. “If I was already seeing someone doing exactly what I needed, maybe I wouldn’t have started. Now I’m addicted and can’t stop. It’s too late to get out.”\u003c/p>\n\u003cp>Gomez takes a long pause, and even stops painting, as he decides on his final answer to my question of why he keeps doing drag. A smile creeps on his face. “Because the world needs me, that’s why!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" 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>Trangela Lansbury performs on the main stage of San Francisco Pride on June 23. Details \u003ca href=\"http://www.sfpride.org/wp-content/uploads/2018/06/RELEASE-Main-Stage-Announcement-06_01_2018-FINAL.pdf\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "juanita-more-beloved-drag-mother-is-queering-san-francisco-politics",
"title": "Juanita MORE!, Beloved Drag Mother, is Queering San Francisco Politics",
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"headTitle": "Juanita MORE!, Beloved Drag Mother, is Queering San Francisco Politics | KQED",
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"content": "\u003cp>\u003cem>Editor’s Note: \u003c/em>The Changing Face of Drag\u003cem> is a five-part KQED Arts series spotlighting innovative performers pushing the boundaries of drag in the Bay Area. Click to read more \u003ca href=\"https://www.kqed.org/arts/series/changing-face-of-drag\" target=\"_blank\" rel=\"noopener\">about the series\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>On the day of the San Francisco mayoral election, \u003ca href=\"http://juanitamore.com\" target=\"_blank\" rel=\"noopener\">Juanita MORE!\u003c/a> couldn’t meet because she had too many places to be.\u003c/p>\n\u003cfigure id=\"attachment_13835563\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835563\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/juanitainfo.jpg\" alt=\"Creo Noveno/KQED\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/juanitainfo.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/juanitainfo-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/juanitainfo-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Creo Noveno/KQED\u003c/figcaption>\u003c/figure>\n\u003cp>In a last-minute campaign effort, she rode around the Castro in a convertible with candidate Mark Leno, her red tassel earrings and cotton candy-shaped wig blowing in the wind. (“My wig stayed on my head, too,” she says.) After hearing Leno speak at Harvey Milk Plaza, she stopped by a campaign party for Rafael Mandelman—a young, gay politician who wore drag at a recent edition of MORE!’s party, Powerblouse—to congratulate him on his win for District 8 supervisor.\u003c/p>\n\u003cp>Drag, an art form that bucks the heteronormative status quo, has been \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\">a central part of queer resistance\u003c/a> for decades. But MORE!, who’s performed in San Francisco for nearly 30 years, is one of the only drag queens to leverage her popularity to make an impact on mainstream city politics.\u003c/p>\n\u003cfigure id=\"attachment_13835554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835554\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A8506-800x533.jpg\" alt=\"Juanita MORE! leverages her popularity as a drag queen to rally for political causes. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juanita MORE! leverages her popularity as a drag queen to rally for political causes. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to campaigning for queer candidates and mobilizing the LGBTQ community to vote with her \u003ca href=\"http://juanitamore.com/vote-1/\" target=\"_blank\" rel=\"noopener\">election guides\u003c/a>, MORE! uses her platform to raise money for a variety of causes. Her party Powerblouse (where she and her drag mother, Glamamore, give newbies their first-time drag makeovers) raises money for the \u003ca href=\"https://theqfoundation.org/\" target=\"_blank\" rel=\"noopener\">Q Foundation\u003c/a>, which helps HIV- and AIDS-positive people secure affordable housing. And her wildly popular \u003ca href=\"http://juanitamore.com/pride/\" target=\"_blank\" rel=\"noopener\">Pride celebrations\u003c/a>, taking place at \u003ca href=\"https://www.kqed.org/arts/13835038/former-fillmore-west-to-host-first-event-in-45-years-for-pride-weekend\" target=\"_blank\" rel=\"noopener\">SVN West\u003c/a> and Jones during the June 23–24 Pride weekend, benefit \u003ca href=\"https://transgenderlawcenter.org/programs/truth\" target=\"_blank\" rel=\"noopener\">TRUTH (TRans yoUTH)\u003c/a>, a program from the Transgender Law Center that gives trans young people a safe space to build community and share their struggles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>MORE! specializes in an old-school, Hollywood glamour of big hair, an hourglass figure and flowing couture gowns (think Bette Davis, Celia Cruz and Diana Ross). She says that she didn’t always see her drag as part of a bigger purpose. “Looking back on those early years, I was probably like every other young drag queen who gets born every day,” she says. “You’re just going out all the time; you’re performing wherever for a dime; you’re drinking all night.”\u003c/p>\n\u003cfigure id=\"attachment_13835555\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835555\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A8410-800x1200.jpg\" alt=\"Evening wear is Juanita MORE!'s specialty. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410.jpg 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evening wear is Juanita MORE!’s specialty. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But as she matured over the course of her career, so did her approach. As a beloved and experienced drag mother and grandmother who’s initiated two generations of performers into the art form, she began to notice that people looked to her for guidance not just on where find the hottest parties with the cutest guys, but on many civic issues, too.\u003c/p>\n\u003cp>“People come to me all the time, especially in the political world, in a way of like, ‘Let’s sit down and talk about this. I wanna share something with you that we need to really think about and figure out and fix it before it really affects our city,'” she says.\u003c/p>\n\u003cp>MORE! was born in Fremont and raised in Hayward, where she remembers passing by five gay bars on the way home from high school. But she didn’t become interested in drag until she was in her 20s and living in New York, immersed in its late-’80s gay club culture. When she returned to San Francisco in 1992, her good friend Glamamore, who followed her out west, dressed her in a leopard print get-up one night before she hit the town.\u003c/p>\n\u003cp>“When I came back, he was here,” she says, sitting at the dining table of her Tenderloin studio apartment, her bulldog, Jackson, at her feet. “And I was like, ‘Oh my god, I had so much fun! I want to do it again tomorrow.'”\u003c/p>\n\u003cfigure id=\"attachment_13835558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835558\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A8309-800x533.jpg\" alt=\"Juanita MORE! hosts two monthly parties at Powerhouse: Beatpig and Powerblouse.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juanita MORE! hosts two monthly parties at Powerhouse: Beatpig and Powerblouse. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>MORE! remembers lip-syncing jazz standards at drag bars like Lily’s—the predecessor to Castro piano bar Martuni’s—and dozens more that have since shuttered. Nowadays, she’s more likely to be found at the SoMA leather bar Powerhouse, where she hosts \u003ca href=\"http://juanitamore.com/powerblouse-1/\" target=\"_blank\" rel=\"noopener\">Powerblouse\u003c/a> and her other monthly party, \u003ca href=\"http://juanitamore.com/beatpig/\" target=\"_blank\" rel=\"noopener\">Beatpig\u003c/a>—though her penchant for Sarah Vaughan and Etta James for her numbers has remained the same.\u003c/p>\n\u003cp>Glamamore and Juanita MORE!’s creative partnership runs even deeper than drag mother and daughter. Outside of drag as \u003ca href=\"https://www.jhphrydas.com/mrdavidglamamore/\" target=\"_blank\" rel=\"noopener\">Mr. David\u003c/a>, Glamamore has sewn thousands of custom couture gowns for MORE! over the past three decades. At her apartment, MORE! shows me an elegant, black evening gown speckled with splashes of gold; its sculptural neckline puffs out like a flower in bloom. Heading over to her velvet-curtained closet, she pulls out a pair of tangerine-hued, wide-leg silk pants fit for a ’70s disco queen.\u003c/p>\n\u003cp>“In general, I’ve only worn Mr. David’s clothes, which is really kind of incredible,” she says. In 2016, the De Young Museum hosted a \u003ca href=\"http://sfist.com/2016/05/20/regarding_the_art_and_style_of_mr_d.php#photo-1\" target=\"_blank\" rel=\"noopener\">runway show of Mr. David’s creations\u003c/a>. Most of MORE!’s personal collection is currently in storage, as it’s too big to fit in her modest studio. She has her assistant pull pieces from it for shows. “It’s organized in clear bins by color, so there’s 26 years of red dresses in the ‘red’ bin.”\u003c/p>\n\u003cfigure id=\"attachment_13835556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835556\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A8538-800x533.jpg\" alt=\""Loads of Love" is Juanita MORE!'s motto. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Loads of Love’ is Juanita MORE!’s motto. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As one of the elder members of the House of MORE!, the family of drag performers that Glamamore founded, Juanita MORE! is a mentor figure and friend to dozens of younger queer people. \u003ca href=\"https://www.billboard.com/articles/news/pride/7882234/a-club-called-rhonda-phyllis-navidad-drag-interview\" target=\"_blank\" rel=\"noopener\">Phyllis Navidad\u003c/a> and \u003ca href=\"https://www.facebook.com/dulce.deleche2\" target=\"_blank\" rel=\"noopener\">Dulce De Leche\u003c/a> were some of her first drag daughters, and she’s a drag aunt to \u003ca href=\"https://www.instagram.com/nicki_jizz/\" target=\"_blank\" rel=\"noopener\">Nicki Jizz\u003c/a>, a sex-positive firecracker whose parties intentionally make space for queer and trans people of color in nightlife.\u003c/p>\n\u003cp>That concept of an intergenerational chosen family is important to MORE!—in her art, activism and personally. In lieu of nuclear family structures, chosen families are how many in the LGBTQ community care for one another; a nurturing and support that MORE! clearly evinces.\u003c/p>\n\u003cp>“I really care about queer kids and queer elders,” she says. “Queer kids are gonna be my voice when I can’t speak anymore, and our queer elders have stories and history that needs to be supported. They need to be loved.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Juanita MORE! performs for Pride at SVN West on June 23 and Jones on June 24. Details \u003ca href=\"http://juanitamore.com/pride/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The longtime performer leverages her popularity to campaign for LGBTQ candidates and raise money for queer and trans causes.",
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"title": "Juanita MORE!, Beloved Drag Mother, is Queering San Francisco Politics | KQED",
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"headline": "Juanita MORE!, Beloved Drag Mother, is Queering San Francisco Politics",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003c/em>The Changing Face of Drag\u003cem> is a five-part KQED Arts series spotlighting innovative performers pushing the boundaries of drag in the Bay Area. Click to read more \u003ca href=\"https://www.kqed.org/arts/series/changing-face-of-drag\" target=\"_blank\" rel=\"noopener\">about the series\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>On the day of the San Francisco mayoral election, \u003ca href=\"http://juanitamore.com\" target=\"_blank\" rel=\"noopener\">Juanita MORE!\u003c/a> couldn’t meet because she had too many places to be.\u003c/p>\n\u003cfigure id=\"attachment_13835563\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835563\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/juanitainfo.jpg\" alt=\"Creo Noveno/KQED\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/juanitainfo.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/juanitainfo-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/juanitainfo-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Creo Noveno/KQED\u003c/figcaption>\u003c/figure>\n\u003cp>In a last-minute campaign effort, she rode around the Castro in a convertible with candidate Mark Leno, her red tassel earrings and cotton candy-shaped wig blowing in the wind. (“My wig stayed on my head, too,” she says.) After hearing Leno speak at Harvey Milk Plaza, she stopped by a campaign party for Rafael Mandelman—a young, gay politician who wore drag at a recent edition of MORE!’s party, Powerblouse—to congratulate him on his win for District 8 supervisor.\u003c/p>\n\u003cp>Drag, an art form that bucks the heteronormative status quo, has been \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\">a central part of queer resistance\u003c/a> for decades. But MORE!, who’s performed in San Francisco for nearly 30 years, is one of the only drag queens to leverage her popularity to make an impact on mainstream city politics.\u003c/p>\n\u003cfigure id=\"attachment_13835554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835554\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A8506-800x533.jpg\" alt=\"Juanita MORE! leverages her popularity as a drag queen to rally for political causes. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juanita MORE! leverages her popularity as a drag queen to rally for political causes. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to campaigning for queer candidates and mobilizing the LGBTQ community to vote with her \u003ca href=\"http://juanitamore.com/vote-1/\" target=\"_blank\" rel=\"noopener\">election guides\u003c/a>, MORE! uses her platform to raise money for a variety of causes. Her party Powerblouse (where she and her drag mother, Glamamore, give newbies their first-time drag makeovers) raises money for the \u003ca href=\"https://theqfoundation.org/\" target=\"_blank\" rel=\"noopener\">Q Foundation\u003c/a>, which helps HIV- and AIDS-positive people secure affordable housing. And her wildly popular \u003ca href=\"http://juanitamore.com/pride/\" target=\"_blank\" rel=\"noopener\">Pride celebrations\u003c/a>, taking place at \u003ca href=\"https://www.kqed.org/arts/13835038/former-fillmore-west-to-host-first-event-in-45-years-for-pride-weekend\" target=\"_blank\" rel=\"noopener\">SVN West\u003c/a> and Jones during the June 23–24 Pride weekend, benefit \u003ca href=\"https://transgenderlawcenter.org/programs/truth\" target=\"_blank\" rel=\"noopener\">TRUTH (TRans yoUTH)\u003c/a>, a program from the Transgender Law Center that gives trans young people a safe space to build community and share their struggles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>MORE! specializes in an old-school, Hollywood glamour of big hair, an hourglass figure and flowing couture gowns (think Bette Davis, Celia Cruz and Diana Ross). She says that she didn’t always see her drag as part of a bigger purpose. “Looking back on those early years, I was probably like every other young drag queen who gets born every day,” she says. “You’re just going out all the time; you’re performing wherever for a dime; you’re drinking all night.”\u003c/p>\n\u003cfigure id=\"attachment_13835555\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835555\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A8410-800x1200.jpg\" alt=\"Evening wear is Juanita MORE!'s specialty. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410.jpg 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evening wear is Juanita MORE!’s specialty. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But as she matured over the course of her career, so did her approach. As a beloved and experienced drag mother and grandmother who’s initiated two generations of performers into the art form, she began to notice that people looked to her for guidance not just on where find the hottest parties with the cutest guys, but on many civic issues, too.\u003c/p>\n\u003cp>“People come to me all the time, especially in the political world, in a way of like, ‘Let’s sit down and talk about this. I wanna share something with you that we need to really think about and figure out and fix it before it really affects our city,'” she says.\u003c/p>\n\u003cp>MORE! was born in Fremont and raised in Hayward, where she remembers passing by five gay bars on the way home from high school. But she didn’t become interested in drag until she was in her 20s and living in New York, immersed in its late-’80s gay club culture. When she returned to San Francisco in 1992, her good friend Glamamore, who followed her out west, dressed her in a leopard print get-up one night before she hit the town.\u003c/p>\n\u003cp>“When I came back, he was here,” she says, sitting at the dining table of her Tenderloin studio apartment, her bulldog, Jackson, at her feet. “And I was like, ‘Oh my god, I had so much fun! I want to do it again tomorrow.'”\u003c/p>\n\u003cfigure id=\"attachment_13835558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835558\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A8309-800x533.jpg\" alt=\"Juanita MORE! hosts two monthly parties at Powerhouse: Beatpig and Powerblouse.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juanita MORE! hosts two monthly parties at Powerhouse: Beatpig and Powerblouse. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>MORE! remembers lip-syncing jazz standards at drag bars like Lily’s—the predecessor to Castro piano bar Martuni’s—and dozens more that have since shuttered. Nowadays, she’s more likely to be found at the SoMA leather bar Powerhouse, where she hosts \u003ca href=\"http://juanitamore.com/powerblouse-1/\" target=\"_blank\" rel=\"noopener\">Powerblouse\u003c/a> and her other monthly party, \u003ca href=\"http://juanitamore.com/beatpig/\" target=\"_blank\" rel=\"noopener\">Beatpig\u003c/a>—though her penchant for Sarah Vaughan and Etta James for her numbers has remained the same.\u003c/p>\n\u003cp>Glamamore and Juanita MORE!’s creative partnership runs even deeper than drag mother and daughter. Outside of drag as \u003ca href=\"https://www.jhphrydas.com/mrdavidglamamore/\" target=\"_blank\" rel=\"noopener\">Mr. David\u003c/a>, Glamamore has sewn thousands of custom couture gowns for MORE! over the past three decades. At her apartment, MORE! shows me an elegant, black evening gown speckled with splashes of gold; its sculptural neckline puffs out like a flower in bloom. Heading over to her velvet-curtained closet, she pulls out a pair of tangerine-hued, wide-leg silk pants fit for a ’70s disco queen.\u003c/p>\n\u003cp>“In general, I’ve only worn Mr. David’s clothes, which is really kind of incredible,” she says. In 2016, the De Young Museum hosted a \u003ca href=\"http://sfist.com/2016/05/20/regarding_the_art_and_style_of_mr_d.php#photo-1\" target=\"_blank\" rel=\"noopener\">runway show of Mr. David’s creations\u003c/a>. Most of MORE!’s personal collection is currently in storage, as it’s too big to fit in her modest studio. She has her assistant pull pieces from it for shows. “It’s organized in clear bins by color, so there’s 26 years of red dresses in the ‘red’ bin.”\u003c/p>\n\u003cfigure id=\"attachment_13835556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835556\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A8538-800x533.jpg\" alt=\""Loads of Love" is Juanita MORE!'s motto. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Loads of Love’ is Juanita MORE!’s motto. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As one of the elder members of the House of MORE!, the family of drag performers that Glamamore founded, Juanita MORE! is a mentor figure and friend to dozens of younger queer people. \u003ca href=\"https://www.billboard.com/articles/news/pride/7882234/a-club-called-rhonda-phyllis-navidad-drag-interview\" target=\"_blank\" rel=\"noopener\">Phyllis Navidad\u003c/a> and \u003ca href=\"https://www.facebook.com/dulce.deleche2\" target=\"_blank\" rel=\"noopener\">Dulce De Leche\u003c/a> were some of her first drag daughters, and she’s a drag aunt to \u003ca href=\"https://www.instagram.com/nicki_jizz/\" target=\"_blank\" rel=\"noopener\">Nicki Jizz\u003c/a>, a sex-positive firecracker whose parties intentionally make space for queer and trans people of color in nightlife.\u003c/p>\n\u003cp>That concept of an intergenerational chosen family is important to MORE!—in her art, activism and personally. In lieu of nuclear family structures, chosen families are how many in the LGBTQ community care for one another; a nurturing and support that MORE! clearly evinces.\u003c/p>\n\u003cp>“I really care about queer kids and queer elders,” she says. “Queer kids are gonna be my voice when I can’t speak anymore, and our queer elders have stories and history that needs to be supported. They need to be loved.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" 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>Juanita MORE! performs for Pride at SVN West on June 23 and Jones on June 24. Details \u003ca href=\"http://juanitamore.com/pride/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Editor’s Note: \u003c/em>The Changing Face of Drag\u003cem> is a five-part KQED Arts series spotlighting innovative performers pushing the boundaries of drag in the Bay Area. Click to read more \u003ca href=\"https://www.kqed.org/arts/series/changing-face-of-drag\" target=\"_blank\" rel=\"noopener\">about the series\u003c/a>. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13835317\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/jayinfo.png\" alt=\"Creo Noveno/KQED\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/jayinfo.png 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/jayinfo-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/jayinfo-240x320.png 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Creo Noveno/KQED\u003c/figcaption>\u003c/figure>\n\u003cp>The winning number, the showstopper that led \u003ca href=\"https://emjaymercury.com/bio/\" target=\"_blank\" rel=\"noopener\">Jay Mercury\u003c/a> to be crowned winner of San Francisco’s 2017 \u003ca href=\"http://sfdragkingcontest.com/index.html\" target=\"_blank\" rel=\"noopener\">Drag King contest\u003c/a> (a title shared with performance artist El SeVan), involves two miniature sombreros, a chest hairpiece, a Mexican flag that comes out of Mercury’s pants and Vicente Fernández’s mariachi classic “\u003ca href=\"https://youtu.be/YZBHetgXKb4\" target=\"_blank\" rel=\"noopener\">El Rey\u003c/a>.”\u003c/p>\n\u003cp>“I remember thinking, ‘They don’t even know what the f-ck is going to happen right now,’” Mercury says.\u003c/p>\n\u003cp>At the end of the performance, the crowd erupted into screams and applause, securing Mercury’s claim to the crown. For Mercury, the drag king persona of Oakland-based Rebecca Salas, it was a validating moment as someone who identifies as Latinx and takes pride in her Chicana heritage.\u003c/p>\n\u003cp>“There’s no kings of color, practically, especially Chicana or Mexican,” she explains. “I remember doing it and feeling like, ‘Oh god, I’m being such a token Latin person right now.’” Then she realized the audience was singing along; the act resonated with them.\u003c/p>\n\u003cfigure id=\"attachment_13835011\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835011\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JayMercury_3.jpg\" alt=\"Jay Mercury in Oakland\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jay Mercury in Oakland \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salas found her way to drag through what might seem like an unlikely route: burlesque. Just before her debut as her burlesque persona, Emjay Mercury, at the 2016 Folsom Street Fair, Dahlia Kash a.k.a. Javier Miguel, Salas’ burlesque mom/drag dad (or the person who initiated her into both art forms), encouraged her to get on stage at the venerable Oakland gay and lesbian bar, the \u003ca href=\"http://whitehorsebar.com/\" target=\"_blank\" rel=\"noopener\">White Horse\u003c/a>, during a night hosted by the drag troupe \u003ca href=\"http://therebelkingsofoak.wixsite.com/rkoakland\" target=\"_blank\" rel=\"noopener\">Rebel Kings of Oakland\u003c/a> (RKO). In need of another stage name, Salas dropped a few letters and Jay Mercury was born.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After that initial show in August 2016, Salas was hooked. “I just kept going back.”\u003c/p>\n\u003cp>Mercury is now an official member of the RKO troupe (initiation looks like a group marriage proposal, bended knee and all). To produce their shows, the members of RKO communicate via a Slack channel. “It’s a job!” says Salas. The group hosts shows at the White Horse every first and third Wednesday of the month, an event billed as “not your average drag king show!” And as Emjay, Salas performs at burlesque nights like Hubba Hubba at San Francisco’s DNA Lounge.\u003c/p>\n\u003cfigure id=\"attachment_13835010\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835010\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JayMercury_2.jpg\" alt=\"Jay Mercury in Oakland\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jay Mercury in Oakland \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Differentiating between Emjay and Jay, high-femme seductress and macho drag king, might seem confusing, but Salas says it’s emblematic of her own gender fluidity, something she’s discovered through performing. “I do a lot of gender-bending acts, and sometimes the lines get blurred between the two personas,” she says.\u003c/p>\n\u003cp>At Hubba Hubba, where Salas says “people go to see boobies and butts,” she sometimes takes the stage as Jay, stripping down to a taped chest adorned with pasties that look like a man’s nipples. And the audiences cheer just as enthusiastically.\u003c/p>\n\u003cp>“I just like to keep pushing and pushing those boundaries of what a woman is expected to do and what a man’s expected to do, or what anyone in between is expected to do,” she says.\u003c/p>\n\u003cp>\u003ci>Please note: The video below contains partial nudity.\u003c/i>\u003cbr>\nhttps://youtu.be/twM-wr6vZzU\u003c/p>\n\u003cp>Salas grew up in Fresno and moved to the Bay Area to study philosophy and ancient Greek at St. Mary’s College of California. And while those areas of study might seem far removed from bar stages, stripteases and Jay’s charming, mustachioed swagger, Salas’ classical language degree focused on performative recitation. And crafting an argument in philosophy, she says, is weirdly similar to the process of building an act for a stage persona.\u003c/p>\n\u003cp>So how would one describe Jay Mercury now, two years into his existence? “He’s kind of a creep. Sometimes we call him tío, uncle. At least in my family, you’re always going to have the crazy drunk tío,” Salas explains. Think Cheech Marin for looks, body rolls as a staple dance move and a face animated by plenty of waggling eyebrows. “He’s the amplified little man inside me.”\u003c/p>\n\u003cp>For Salas, the mainstream popularity of drag and the success of \u003cem>RuPaul’s Drag Race\u003c/em> is a double-edged sword. “A lot more intersectionality in the drag world is happening and it’s super awesome, but I will admit it’s more so for the queens,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13835341\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JayMercury_4.jpg\" alt=\"Jay Mercury in Oakland\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jay Mercury in Oakland \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2016, when \u003ci>\u003ca href=\"https://www.advocate.com/people/2016/8/24/quiet-children-rupaul-has-things-say-about-trump-awards-and-cops\" target=\"_blank\" rel=\"noopener\">The Advocate\u003c/a>\u003c/i> asked RuPaul if drag kings would one day appear on the show, the host responded, “Maybe on another show, but if you mix it up it’s like trying to make a Mac computer compatible with a PC—they don’t really mix.” Then, in a March 2018 interview with \u003cem>\u003ca href=\"https://www.theguardian.com/tv-and-radio/2018/mar/03/rupaul-drag-race-big-f-you-to-male-dominated-culture\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a>\u003c/em>, RuPaul further ignited the queer community by stating that he would “probably not” allow a transgender woman to compete on the reality show.\u003c/p>\n\u003cp>“Personally I don’t watch the show as much after that happened, because it leaves a bad taste in your mouth,” Salas says, “but that doesn’t negate everything that that show and that person have done for the queer community.”\u003c/p>\n\u003cp>“All drag is valid, all drag is beautiful,” she continues. “Nobody should be out there trying to enforce whatever their ideas are.”\u003c/p>\n\u003cp>Salas says watching the next generation of drag kings coming up in the Bay Area scene is both exciting and scary. “I gotta step up my game,” she says. “Because they’re just blowing it out of the water over here.”\u003c/p>\n\u003cp>She sees a shift from presentations of male illusion—acts that focus on “passing” as a cisgender man—to performances that complicate traditional ideas of masculinity. “I’d say there’s a lot more emotion in drag and people aren’t afraid to share their stories,” Salas says.\u003c/p>\n\u003cfigure id=\"attachment_13835009\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JayMercury_1.jpg\" alt=\"Jay Mercury in Oakland\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jay Mercury in Oakland \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Jay Mercury, part of the story Salas hopes to relate on stage is being a drag king of color. “It took me a while to kind of find my voice on that, because I didn’t realize there’s not that many of us,” Salas says. Her family is supportive of what she calls “my very fun hobby,” but she has many queer Latinx friends who no longer have relationships with their parents or families.\u003c/p>\n\u003cp>“The fact is when you grow up in not only a culture but a religion that is generally not very accepting of those things or understanding, it’s very difficult,” Salas says. “That’s why I never saw drag kings in Fresno, ever.”\u003c/p>\n\u003cp>Salas believes in the possibility of shifting the way her culture views gender roles, one drag performance at a time. “There’s so much love and passion in Latin culture, especially for your family. There’s just lessons to be learned, and if I can do anything, not necessarily in teaching people but showing them my story, hopefully that can make an impact.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13835025\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Catch Jay Mercury in Peepshow at \u003ca href=\"https://undergroundnomads.wordpress.com/2018/06/13/june-19-peepshow-drag-burlesque-variety-at-underground-nomads-for-pride-month/\" target=\"_blank\" rel=\"noopener\">F8 in San Francisco\u003c/a> on June 19. Mercury also performs at \u003ca href=\"https://www.ticketfly.com/purchase/event/1708636?utm_medium=api\" target=\"_blank\" rel=\"noopener\">Nudie Nu Boi’s\u003c/a> at San Francisco’s Monarch and with Rebel Kings of Oakland at the \u003ca href=\"http://whitehorsebar.com/event/rebel-kings-3/?instance_id=52379\" target=\"_blank\" rel=\"noopener\">White Horse\u003c/a>, both on June 20.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003c/em>The Changing Face of Drag\u003cem> is a five-part KQED Arts series spotlighting innovative performers pushing the boundaries of drag in the Bay Area. Click to read more \u003ca href=\"https://www.kqed.org/arts/series/changing-face-of-drag\" target=\"_blank\" rel=\"noopener\">about the series\u003c/a>. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13835317\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/jayinfo.png\" alt=\"Creo Noveno/KQED\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/jayinfo.png 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/jayinfo-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/jayinfo-240x320.png 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Creo Noveno/KQED\u003c/figcaption>\u003c/figure>\n\u003cp>The winning number, the showstopper that led \u003ca href=\"https://emjaymercury.com/bio/\" target=\"_blank\" rel=\"noopener\">Jay Mercury\u003c/a> to be crowned winner of San Francisco’s 2017 \u003ca href=\"http://sfdragkingcontest.com/index.html\" target=\"_blank\" rel=\"noopener\">Drag King contest\u003c/a> (a title shared with performance artist El SeVan), involves two miniature sombreros, a chest hairpiece, a Mexican flag that comes out of Mercury’s pants and Vicente Fernández’s mariachi classic “\u003ca href=\"https://youtu.be/YZBHetgXKb4\" target=\"_blank\" rel=\"noopener\">El Rey\u003c/a>.”\u003c/p>\n\u003cp>“I remember thinking, ‘They don’t even know what the f-ck is going to happen right now,’” Mercury says.\u003c/p>\n\u003cp>At the end of the performance, the crowd erupted into screams and applause, securing Mercury’s claim to the crown. For Mercury, the drag king persona of Oakland-based Rebecca Salas, it was a validating moment as someone who identifies as Latinx and takes pride in her Chicana heritage.\u003c/p>\n\u003cp>“There’s no kings of color, practically, especially Chicana or Mexican,” she explains. “I remember doing it and feeling like, ‘Oh god, I’m being such a token Latin person right now.’” Then she realized the audience was singing along; the act resonated with them.\u003c/p>\n\u003cfigure id=\"attachment_13835011\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835011\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JayMercury_3.jpg\" alt=\"Jay Mercury in Oakland\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jay Mercury in Oakland \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salas found her way to drag through what might seem like an unlikely route: burlesque. Just before her debut as her burlesque persona, Emjay Mercury, at the 2016 Folsom Street Fair, Dahlia Kash a.k.a. Javier Miguel, Salas’ burlesque mom/drag dad (or the person who initiated her into both art forms), encouraged her to get on stage at the venerable Oakland gay and lesbian bar, the \u003ca href=\"http://whitehorsebar.com/\" target=\"_blank\" rel=\"noopener\">White Horse\u003c/a>, during a night hosted by the drag troupe \u003ca href=\"http://therebelkingsofoak.wixsite.com/rkoakland\" target=\"_blank\" rel=\"noopener\">Rebel Kings of Oakland\u003c/a> (RKO). In need of another stage name, Salas dropped a few letters and Jay Mercury was born.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After that initial show in August 2016, Salas was hooked. “I just kept going back.”\u003c/p>\n\u003cp>Mercury is now an official member of the RKO troupe (initiation looks like a group marriage proposal, bended knee and all). To produce their shows, the members of RKO communicate via a Slack channel. “It’s a job!” says Salas. The group hosts shows at the White Horse every first and third Wednesday of the month, an event billed as “not your average drag king show!” And as Emjay, Salas performs at burlesque nights like Hubba Hubba at San Francisco’s DNA Lounge.\u003c/p>\n\u003cfigure id=\"attachment_13835010\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835010\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JayMercury_2.jpg\" alt=\"Jay Mercury in Oakland\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jay Mercury in Oakland \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Differentiating between Emjay and Jay, high-femme seductress and macho drag king, might seem confusing, but Salas says it’s emblematic of her own gender fluidity, something she’s discovered through performing. “I do a lot of gender-bending acts, and sometimes the lines get blurred between the two personas,” she says.\u003c/p>\n\u003cp>At Hubba Hubba, where Salas says “people go to see boobies and butts,” she sometimes takes the stage as Jay, stripping down to a taped chest adorned with pasties that look like a man’s nipples. And the audiences cheer just as enthusiastically.\u003c/p>\n\u003cp>“I just like to keep pushing and pushing those boundaries of what a woman is expected to do and what a man’s expected to do, or what anyone in between is expected to do,” she says.\u003c/p>\n\u003cp>\u003ci>Please note: The video below contains partial nudity.\u003c/i>\u003cbr>\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/twM-wr6vZzU'\n title='//www.youtube.com/embed/twM-wr6vZzU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Salas grew up in Fresno and moved to the Bay Area to study philosophy and ancient Greek at St. Mary’s College of California. And while those areas of study might seem far removed from bar stages, stripteases and Jay’s charming, mustachioed swagger, Salas’ classical language degree focused on performative recitation. And crafting an argument in philosophy, she says, is weirdly similar to the process of building an act for a stage persona.\u003c/p>\n\u003cp>So how would one describe Jay Mercury now, two years into his existence? “He’s kind of a creep. Sometimes we call him tío, uncle. At least in my family, you’re always going to have the crazy drunk tío,” Salas explains. Think Cheech Marin for looks, body rolls as a staple dance move and a face animated by plenty of waggling eyebrows. “He’s the amplified little man inside me.”\u003c/p>\n\u003cp>For Salas, the mainstream popularity of drag and the success of \u003cem>RuPaul’s Drag Race\u003c/em> is a double-edged sword. “A lot more intersectionality in the drag world is happening and it’s super awesome, but I will admit it’s more so for the queens,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13835341\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JayMercury_4.jpg\" alt=\"Jay Mercury in Oakland\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jay Mercury in Oakland \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2016, when \u003ci>\u003ca href=\"https://www.advocate.com/people/2016/8/24/quiet-children-rupaul-has-things-say-about-trump-awards-and-cops\" target=\"_blank\" rel=\"noopener\">The Advocate\u003c/a>\u003c/i> asked RuPaul if drag kings would one day appear on the show, the host responded, “Maybe on another show, but if you mix it up it’s like trying to make a Mac computer compatible with a PC—they don’t really mix.” Then, in a March 2018 interview with \u003cem>\u003ca href=\"https://www.theguardian.com/tv-and-radio/2018/mar/03/rupaul-drag-race-big-f-you-to-male-dominated-culture\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a>\u003c/em>, RuPaul further ignited the queer community by stating that he would “probably not” allow a transgender woman to compete on the reality show.\u003c/p>\n\u003cp>“Personally I don’t watch the show as much after that happened, because it leaves a bad taste in your mouth,” Salas says, “but that doesn’t negate everything that that show and that person have done for the queer community.”\u003c/p>\n\u003cp>“All drag is valid, all drag is beautiful,” she continues. “Nobody should be out there trying to enforce whatever their ideas are.”\u003c/p>\n\u003cp>Salas says watching the next generation of drag kings coming up in the Bay Area scene is both exciting and scary. “I gotta step up my game,” she says. “Because they’re just blowing it out of the water over here.”\u003c/p>\n\u003cp>She sees a shift from presentations of male illusion—acts that focus on “passing” as a cisgender man—to performances that complicate traditional ideas of masculinity. “I’d say there’s a lot more emotion in drag and people aren’t afraid to share their stories,” Salas says.\u003c/p>\n\u003cfigure id=\"attachment_13835009\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JayMercury_1.jpg\" alt=\"Jay Mercury in Oakland\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jay Mercury in Oakland \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Jay Mercury, part of the story Salas hopes to relate on stage is being a drag king of color. “It took me a while to kind of find my voice on that, because I didn’t realize there’s not that many of us,” Salas says. Her family is supportive of what she calls “my very fun hobby,” but she has many queer Latinx friends who no longer have relationships with their parents or families.\u003c/p>\n\u003cp>“The fact is when you grow up in not only a culture but a religion that is generally not very accepting of those things or understanding, it’s very difficult,” Salas says. “That’s why I never saw drag kings in Fresno, ever.”\u003c/p>\n\u003cp>Salas believes in the possibility of shifting the way her culture views gender roles, one drag performance at a time. “There’s so much love and passion in Latin culture, especially for your family. There’s just lessons to be learned, and if I can do anything, not necessarily in teaching people but showing them my story, hopefully that can make an impact.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13835025\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" 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>\u003ci>Catch Jay Mercury in Peepshow at \u003ca href=\"https://undergroundnomads.wordpress.com/2018/06/13/june-19-peepshow-drag-burlesque-variety-at-underground-nomads-for-pride-month/\" target=\"_blank\" rel=\"noopener\">F8 in San Francisco\u003c/a> on June 19. Mercury also performs at \u003ca href=\"https://www.ticketfly.com/purchase/event/1708636?utm_medium=api\" target=\"_blank\" rel=\"noopener\">Nudie Nu Boi’s\u003c/a> at San Francisco’s Monarch and with Rebel Kings of Oakland at the \u003ca href=\"http://whitehorsebar.com/event/rebel-kings-3/?instance_id=52379\" target=\"_blank\" rel=\"noopener\">White Horse\u003c/a>, both on June 20.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Drag queens have been central figures in San Francisco’s LGBTQ movement since the 1966 \u003ca href=\"https://www.kqed.org/arts/11838357/in-66-on-one-hot-august-night-trans-women-fought-for-their-rights\" target=\"_blank\" rel=\"noopener\">Compton’s Cafeteria riot\u003c/a>, when members of the LGBTQ community—including drag queens and trans women—fought back against police harassment, three years before Stonewall. Filmmaker Susan Stryker calls the riot at Compton’s, an all-night cafeteria in the Tenderloin, the “first known instance of collective militant, queer resistance to police harassment in United States history.”\u003c/p>\n\u003cp>The Compton’s Cafeteria riot shows that drag is political, and that it has occupied a central role in the queer liberation movement from the beginning—especially in San Francisco. In this spirit, \u003ci>\u003ca href=\"https://www.kqed.org/arts/series/changing-face-of-drag\" rel=\"noopener\" target=\"_blank\">The Changing Face of Drag\u003c/a>\u003c/i>, a KQED Arts story series running June 18–22, spotlights five Bay Area drag artists at the vanguard of their genre, pioneering new styles and evolving the idea of what drag can be.\u003c/p>\n\u003cp>In 2018, drag is more popular than ever—due in large part to \u003ci>RuPaul’s Drag Race\u003c/i>, the TV competition that’s produced some of the genre’s biggest stars. But the real-life drag world is much more diverse than \u003ci>Drag Race\u003c/i>, and no more so than in the thriving underground drag culture of the Bay Area.\u003c/p>\n\u003cp>The five performers featured in \u003cem>The Changing Face of Drag\u003c/em> come from very different backgrounds. Each has their own approach. And their stories prove that drag is a continuously evolving art form that sparks conversations about gender, sexuality and culture while advocating for equality for all, one fake eyelash and silicone breastplate at a time.\u003c/p>\n\u003cp>—\u003cem>Nastia Voynovskaya, series editor\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Drag queens have been central figures in San Francisco’s LGBTQ movement since the 1966 \u003ca href=\"https://www.kqed.org/arts/11838357/in-66-on-one-hot-august-night-trans-women-fought-for-their-rights\" target=\"_blank\" rel=\"noopener\">Compton’s Cafeteria riot\u003c/a>, when members of the LGBTQ community—including drag queens and trans women—fought back against police harassment, three years before Stonewall. Filmmaker Susan Stryker calls the riot at Compton’s, an all-night cafeteria in the Tenderloin, the “first known instance of collective militant, queer resistance to police harassment in United States history.”\u003c/p>\n\u003cp>The Compton’s Cafeteria riot shows that drag is political, and that it has occupied a central role in the queer liberation movement from the beginning—especially in San Francisco. In this spirit, \u003ci>\u003ca href=\"https://www.kqed.org/arts/series/changing-face-of-drag\" rel=\"noopener\" target=\"_blank\">The Changing Face of Drag\u003c/a>\u003c/i>, a KQED Arts story series running June 18–22, spotlights five Bay Area drag artists at the vanguard of their genre, pioneering new styles and evolving the idea of what drag can be.\u003c/p>\n\u003cp>In 2018, drag is more popular than ever—due in large part to \u003ci>RuPaul’s Drag Race\u003c/i>, the TV competition that’s produced some of the genre’s biggest stars. But the real-life drag world is much more diverse than \u003ci>Drag Race\u003c/i>, and no more so than in the thriving underground drag culture of the Bay Area.\u003c/p>\n\u003cp>The five performers featured in \u003cem>The Changing Face of Drag\u003c/em> come from very different backgrounds. Each has their own approach. And their stories prove that drag is a continuously evolving art form that sparks conversations about gender, sexuality and culture while advocating for equality for all, one fake eyelash and silicone breastplate at a time.\u003c/p>\n\u003cp>—\u003cem>Nastia Voynovskaya, series editor\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Jader's Otherworldly Drag Busts the Art Form Wide Open",
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"content": "\u003cp>\u003cem>Editor’s Note: \u003c/em>\u003ca href=\"https://www.kqed.org/arts/series/changing-face-of-drag\" target=\"_blank\" rel=\"noopener\">The Changing Face of Drag\u003c/a>\u003cem> is a five-part KQED Arts series spotlighting innovative performers pushing the boundaries of drag in the Bay Area. Click to read more \u003ca href=\"https://www.kqed.org/arts/series/changing-face-of-drag\" target=\"_blank\" rel=\"noopener\">about the series\u003c/a>. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13835311\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835311\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/jaderinfo.jpg\" alt=\"Creo Noveno/KQED\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/jaderinfo.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/jaderinfo-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/jaderinfo-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Creo Noveno/KQED\u003c/figcaption>\u003c/figure>\n\u003cp>Topless dancers hang from aerial hoops as a bald figure, with skin painted entirely red, struts across the stage to the Deftones’ tempestuous alt-rock hit “Change (In the House of Flies).” Black tentacles, like Ursula’s in \u003cem>The Little Mermaid\u003c/em>, hang from the leather apron covering his torso, and devilish, vinyl bat wings protrude from his back. He flares the wings slowly while descending into a squat, in time with a crescendo of thundering guitars and drums—a total power move, like a sci-fi villain flexing his might.\u003c/p>\n\u003cp>This is drag in San Francisco in 2018—and Jader, the performer on stage at SOMArts this night in April, is among an exciting new breed of artists pushing the boundaries of the art form.\u003c/p>\n\u003cp>As I approach Jader’s SoMA apartment building six weeks after his performance at the event, I realize I have no clue what he looks like under the theatrical, alien-like makeup he wears for his shows. When I arrive at the gate, a white man in his thirties answers the door looking comparatively naked with his shaved head, black button-down shirt and jeans, with only a septum ring adorning his face.\u003c/p>\n\u003cp>All smiles, Jader apologizes for the cat’s litter box as leads me through the hall and into the living room. I eye a packed clothing rack of dresses, capes, a bodice made out of Viking shin guards and a red dress with vinyl piping that looks almost inflatable. The folded bat wings he wore at SOMArts protrude from the row of garments, hanging next to the bondage-y, latex seal tail and flippers; Jader’s accessorized them with a leather choker and dental cheek retractors for a performance piece at Untitled Art Fair.\u003c/p>\n\u003cfigure id=\"attachment_13835320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835320\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JaderPic-800x533.jpg\" alt=\"Jader at night\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jader at night \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jader’s nocturnal schedule of bartending at the Great American Music Hall—plus some shifts at Costumes on Haight, his second job—allow him the free time and access to materials to create these intricate, shapeshifting looks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“To me, drag is about having fun and not always trying to be beautiful,” says Jader. “I’m happy to have a face full of boils and act like a model.”\u003c/p>\n\u003cp>Jader is a drag performer, but he’s not a drag \u003cem>queen\u003c/em> per se; his style is typically more phantasmagorical and gender-neutral than the high-femme looks most people associate with the medium. And it’s certainly much weirder than anything seen on \u003cem>RuPaul’s Drag Race\u003c/em>, the reality show that’s become drag’s most mainstream platform since moving to VH1 last year.\u003c/p>\n\u003cp>“I’m appreciative that queer art is so international now, but because of it, there are certain people who believe drag has to be done a certain way,” says Jader. “But it’s really awesome, because with all this interest in this art form, there are so many people who are really challenging the structures of drag, and challenging that narrative and pushing it further—especially in the Bay Area.”\u003c/p>\n\u003cfigure id=\"attachment_13835352\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835352\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Jader2.jpg\" alt=\"Jader at night in San Francisco.\" width=\"1200\" height=\"731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader2-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader2-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader2-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader2-1020x621.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader2-1180x719.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader2-960x585.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader2-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader2-375x228.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader2-520x317.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jader at night in San Francisco. \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Drag Race \u003c/em>has faced criticism for its treatment of \u003ca href=\"https://slate.com/human-interest/2018/02/rupauls-drag-race-queens-see-racism-in-show-treatment-and-fan-love.html\" target=\"_blank\" rel=\"noopener\">black\u003c/a> and \u003ca href=\"https://intomore.com/culture/why-drag-races-plus-size-queens-cant-be-the-heroes-of-their-own-stories\" target=\"_blank\" rel=\"noopener\">plus-size contestants\u003c/a>, as well as \u003ca href=\"https://www.theguardian.com/tv-and-radio/2018/mar/03/rupaul-drag-race-big-f-you-to-male-dominated-culture\" target=\"_blank\" rel=\"noopener\">RuPaul’s comments\u003c/a> implying that transitioning trans women—and anyone who’s not a cis man outside of drag—need not apply. But the Bay Area drag scene, which has produced stars like gender nonconforming performance artist and model \u003ca href=\"https://i-d.vice.com/en_us/article/qv887d/all-about-the-boychild\" target=\"_blank\" rel=\"noopener\">Boychild\u003c/a>, has long embraced diversity and gender fluidity. Jader considers it the perfect home for his very unconventional approach.\u003c/p>\n\u003cp>“I feel really lucky to be working in such a queer hub where people think about it differently,” he says of the Bay Area. “It’s not just about, ‘Are you able to look like a cis-gender woman?’ That is typically not the goal here.”\u003c/p>\n\u003cp>Jader came into drag by way of visual art. He grew up in “vanilla-ass” Irvine and fled its homophobic high school bullies to study art history at UCLA. While living in Los Angeles after college, Jader began curating underground art shows and art-directing photo shoots, eventually shifting his focus to surreal, Cindy Sherman-esque self-portraits (basically, drag without the performance) that he styled and photographed himself.\u003c/p>\n\u003cfigure id=\"attachment_13835351\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835351\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Jader1.jpg\" alt=\"Jader at night in San Francisco.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader1-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jader at night in San Francisco. \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jader’s expertise in special effects makeup—all gleaned from YouTube—earned him a reputation as a master of illusion once he moved to San Francisco in 2009. But the artist didn’t take those looks to the stage until 2015, at the album release party for VAINHEIN, Jader’s good friend and fellow avant-drag performer.\u003c/p>\n\u003cp>That debut performance, where Jader wore a headdress made of lights and sealed his mouth shut with latex, was the impetus for Jader, VAINHEIN and Pseuda (another drag queen and close friend) to start the collective \u003ca href=\"https://www.facebook.com/toxicwasteface/\" target=\"_blank\" rel=\"noopener\">Toxic Waste Face\u003c/a>, a trio that focuses on a more theatrical, performance-art mode of drag and does production for other genre- and gender-bending artists. (They recently produced fellow drag performer Bebe Huxley’s music video, directed by Jader, for her single, “\u003ca href=\"https://www.youtube.com/watch?v=rtE60j9ImaM\" target=\"_blank\" rel=\"noopener\">Venom\u003c/a>.”)\u003c/p>\n\u003cp>Though the three members of Toxic Waste Face cut their teeth in nightlife at parties like Dark Room, an industrial goth drag night that moved from the Stud in SoMA to Oakland’s Golden Bull, Toxic Waste Face have their sights set on more collaborations with performing arts institutions, galleries and museums—organizations with budgets that can fund more elaborate artistry.\u003c/p>\n\u003cfigure id=\"attachment_13835353\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835353\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Jader3.jpg\" alt=\"Jader at night in San Francisco.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader3-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jader at night in San Francisco. \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The collective’s most ambitious project to date is a 45-minute multimedia theater piece called \u003cem>Mega Mall\u003c/em>, which premiered in 2017. The play, about mutants in a post-World War III nuclear fallout, features live acting, video vignettes, and 14 different costumes. “It’s very much a commentary on the ‘other,’ on queerness, etc., where these mutants are being vilified by these corporate, hegemonic structures,” says Jader. “But then the mutants mount this coupe and break into the facility and everyone starts mutating.”\u003c/p>\n\u003cp>The play, like Jader’s own drag, comes with a simple, powerful message. As Jader puts it: “Own what makes you different.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jader performs Friday, June 29, at The Stud in San Francisco for Stereo Argento. Details \u003ca href=\"https://www.facebook.com/events/491771454574219/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "Jader's Otherworldly Drag Busts the Art Form Wide Open | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003c/em>\u003ca href=\"https://www.kqed.org/arts/series/changing-face-of-drag\" target=\"_blank\" rel=\"noopener\">The Changing Face of Drag\u003c/a>\u003cem> is a five-part KQED Arts series spotlighting innovative performers pushing the boundaries of drag in the Bay Area. Click to read more \u003ca href=\"https://www.kqed.org/arts/series/changing-face-of-drag\" target=\"_blank\" rel=\"noopener\">about the series\u003c/a>. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13835311\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835311\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/jaderinfo.jpg\" alt=\"Creo Noveno/KQED\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/jaderinfo.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/jaderinfo-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/jaderinfo-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Creo Noveno/KQED\u003c/figcaption>\u003c/figure>\n\u003cp>Topless dancers hang from aerial hoops as a bald figure, with skin painted entirely red, struts across the stage to the Deftones’ tempestuous alt-rock hit “Change (In the House of Flies).” Black tentacles, like Ursula’s in \u003cem>The Little Mermaid\u003c/em>, hang from the leather apron covering his torso, and devilish, vinyl bat wings protrude from his back. He flares the wings slowly while descending into a squat, in time with a crescendo of thundering guitars and drums—a total power move, like a sci-fi villain flexing his might.\u003c/p>\n\u003cp>This is drag in San Francisco in 2018—and Jader, the performer on stage at SOMArts this night in April, is among an exciting new breed of artists pushing the boundaries of the art form.\u003c/p>\n\u003cp>As I approach Jader’s SoMA apartment building six weeks after his performance at the event, I realize I have no clue what he looks like under the theatrical, alien-like makeup he wears for his shows. When I arrive at the gate, a white man in his thirties answers the door looking comparatively naked with his shaved head, black button-down shirt and jeans, with only a septum ring adorning his face.\u003c/p>\n\u003cp>All smiles, Jader apologizes for the cat’s litter box as leads me through the hall and into the living room. I eye a packed clothing rack of dresses, capes, a bodice made out of Viking shin guards and a red dress with vinyl piping that looks almost inflatable. The folded bat wings he wore at SOMArts protrude from the row of garments, hanging next to the bondage-y, latex seal tail and flippers; Jader’s accessorized them with a leather choker and dental cheek retractors for a performance piece at Untitled Art Fair.\u003c/p>\n\u003cfigure id=\"attachment_13835320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835320\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JaderPic-800x533.jpg\" alt=\"Jader at night\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JaderPic-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jader at night \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jader’s nocturnal schedule of bartending at the Great American Music Hall—plus some shifts at Costumes on Haight, his second job—allow him the free time and access to materials to create these intricate, shapeshifting looks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“To me, drag is about having fun and not always trying to be beautiful,” says Jader. “I’m happy to have a face full of boils and act like a model.”\u003c/p>\n\u003cp>Jader is a drag performer, but he’s not a drag \u003cem>queen\u003c/em> per se; his style is typically more phantasmagorical and gender-neutral than the high-femme looks most people associate with the medium. And it’s certainly much weirder than anything seen on \u003cem>RuPaul’s Drag Race\u003c/em>, the reality show that’s become drag’s most mainstream platform since moving to VH1 last year.\u003c/p>\n\u003cp>“I’m appreciative that queer art is so international now, but because of it, there are certain people who believe drag has to be done a certain way,” says Jader. “But it’s really awesome, because with all this interest in this art form, there are so many people who are really challenging the structures of drag, and challenging that narrative and pushing it further—especially in the Bay Area.”\u003c/p>\n\u003cfigure id=\"attachment_13835352\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835352\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Jader2.jpg\" alt=\"Jader at night in San Francisco.\" width=\"1200\" height=\"731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader2-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader2-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader2-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader2-1020x621.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader2-1180x719.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader2-960x585.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader2-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader2-375x228.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader2-520x317.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jader at night in San Francisco. \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Drag Race \u003c/em>has faced criticism for its treatment of \u003ca href=\"https://slate.com/human-interest/2018/02/rupauls-drag-race-queens-see-racism-in-show-treatment-and-fan-love.html\" target=\"_blank\" rel=\"noopener\">black\u003c/a> and \u003ca href=\"https://intomore.com/culture/why-drag-races-plus-size-queens-cant-be-the-heroes-of-their-own-stories\" target=\"_blank\" rel=\"noopener\">plus-size contestants\u003c/a>, as well as \u003ca href=\"https://www.theguardian.com/tv-and-radio/2018/mar/03/rupaul-drag-race-big-f-you-to-male-dominated-culture\" target=\"_blank\" rel=\"noopener\">RuPaul’s comments\u003c/a> implying that transitioning trans women—and anyone who’s not a cis man outside of drag—need not apply. But the Bay Area drag scene, which has produced stars like gender nonconforming performance artist and model \u003ca href=\"https://i-d.vice.com/en_us/article/qv887d/all-about-the-boychild\" target=\"_blank\" rel=\"noopener\">Boychild\u003c/a>, has long embraced diversity and gender fluidity. Jader considers it the perfect home for his very unconventional approach.\u003c/p>\n\u003cp>“I feel really lucky to be working in such a queer hub where people think about it differently,” he says of the Bay Area. “It’s not just about, ‘Are you able to look like a cis-gender woman?’ That is typically not the goal here.”\u003c/p>\n\u003cp>Jader came into drag by way of visual art. He grew up in “vanilla-ass” Irvine and fled its homophobic high school bullies to study art history at UCLA. While living in Los Angeles after college, Jader began curating underground art shows and art-directing photo shoots, eventually shifting his focus to surreal, Cindy Sherman-esque self-portraits (basically, drag without the performance) that he styled and photographed himself.\u003c/p>\n\u003cfigure id=\"attachment_13835351\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835351\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Jader1.jpg\" alt=\"Jader at night in San Francisco.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader1-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jader at night in San Francisco. \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jader’s expertise in special effects makeup—all gleaned from YouTube—earned him a reputation as a master of illusion once he moved to San Francisco in 2009. But the artist didn’t take those looks to the stage until 2015, at the album release party for VAINHEIN, Jader’s good friend and fellow avant-drag performer.\u003c/p>\n\u003cp>That debut performance, where Jader wore a headdress made of lights and sealed his mouth shut with latex, was the impetus for Jader, VAINHEIN and Pseuda (another drag queen and close friend) to start the collective \u003ca href=\"https://www.facebook.com/toxicwasteface/\" target=\"_blank\" rel=\"noopener\">Toxic Waste Face\u003c/a>, a trio that focuses on a more theatrical, performance-art mode of drag and does production for other genre- and gender-bending artists. (They recently produced fellow drag performer Bebe Huxley’s music video, directed by Jader, for her single, “\u003ca href=\"https://www.youtube.com/watch?v=rtE60j9ImaM\" target=\"_blank\" rel=\"noopener\">Venom\u003c/a>.”)\u003c/p>\n\u003cp>Though the three members of Toxic Waste Face cut their teeth in nightlife at parties like Dark Room, an industrial goth drag night that moved from the Stud in SoMA to Oakland’s Golden Bull, Toxic Waste Face have their sights set on more collaborations with performing arts institutions, galleries and museums—organizations with budgets that can fund more elaborate artistry.\u003c/p>\n\u003cfigure id=\"attachment_13835353\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835353\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Jader3.jpg\" alt=\"Jader at night in San Francisco.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jader3-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jader at night in San Francisco. \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The collective’s most ambitious project to date is a 45-minute multimedia theater piece called \u003cem>Mega Mall\u003c/em>, which premiered in 2017. The play, about mutants in a post-World War III nuclear fallout, features live acting, video vignettes, and 14 different costumes. “It’s very much a commentary on the ‘other,’ on queerness, etc., where these mutants are being vilified by these corporate, hegemonic structures,” says Jader. “But then the mutants mount this coupe and break into the facility and everyone starts mutating.”\u003c/p>\n\u003cp>The play, like Jader’s own drag, comes with a simple, powerful message. As Jader puts it: “Own what makes you different.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" 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>Jader performs Friday, June 29, at The Stud in San Francisco for Stereo Argento. Details \u003ca href=\"https://www.facebook.com/events/491771454574219/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-drag-artists-look-back-at-1963",
"title": "Journey into 1963 with Comic Artist Diego Gómez",
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"headTitle": "Journey into 1963 with Comic Artist Diego Gómez | KQED",
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"content": "\u003cp>Whether crafting elaborate drag personas or drawing a provocatively \u003ca href=\"https://www.etsy.com/listing/569502077/skeletor-masters-of-the-universe-print?ref=shop_home_active_42\" rel=\"noopener\" target=\"_blank\">apple-bottomed rendition of He-Man nemesis Skeletor\u003c/a>, fantasy is clearly a specialty for San Francisco artist Diego Gómez. For those already familiar with Gomez’s penchant for amphibious femme makeovers and slutty superhero art, a decidedly earthbound subject like American history may initially seem a drab departure for a debut comic book. But Gómez’s \u003cem>1963 Is Not An End, But A Beginning\u003c/em> is not your standard Scholastic funny book.\u003c/p>\n\u003cp>From Larry Gonick’s old-school \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Cartoon_History_of_the_Universe\" rel=\"noopener\" target=\"_blank\">A Cartoon History of the Universe\u003c/a>\u003c/em> to Kate Beaton’s hilarious \u003cem>\u003ca href=\"http://www.harkavagrant.com/\" rel=\"noopener\" target=\"_blank\">Hark! A Vagrant\u003c/a>\u003c/em>, historical comics aren’t new terrain. Comparisons to Nate Powell’s award-winning \u003cem>March\u003c/em>, a three-volume magnum opus covering the ’60s civil rights movement, may immediately spring to mind (side note: behold the photos of \u003cem>March\u003c/em> co-creator and Congressman John Lewis \u003ca href=\"https://www.washingtonpost.com/news/comic-riffs/wp/2015/07/13/the-real-origin-story-behind-how-rep-john-lewis-became-the-hit-of-comic-con/?utm_term=.b459922bc7c3\" rel=\"noopener\" target=\"_blank\">cosplaying as himself at Comic-Con 2015\u003c/a> and become reborn).\u003c/p>\n\u003cp>But whereas \u003cem>March\u003c/em> dives deep into a single chapter of the civil rights movement, Gómez, who evaluates the year 1963 as a \u003ca href=\"https://www.youtube.com/watch?v=Rwq27MOZhC0\" rel=\"noopener\" target=\"_blank\">current-day drag performer\u003c/a> and founding member of POC performance group Yum Yum Club!, paints this comic with broader strokes. In fact, most events included here from 1963 are given equal billing, regardless of their traditional importance. Presented in a classic timeline style, Martin Luther King, Jr.’s “Letter from Birmingham Jail” is given the same amount of panel space as lesser-known events like the birth of transgender artist & activist \u003ca href=\"https://www.justinvivianbond.com/\" rel=\"noopener\" target=\"_blank\">Mx Justin Vivien Bond\u003c/a> and the publication of \u003ca href=\"https://www.comics.org/issue/17506/\" rel=\"noopener\" target=\"_blank\">\u003cem>Wonder Woman\u003c/em> No. 136\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-800x450.jpg\" alt=\"A panel from Diego Gómez's new comic book, '1963 is Not an End, But a Beginning.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13819145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_.jpg 1375w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Diego Gómez’s new comic book, ‘1963 is Not an End, But a Beginning.’ \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>1963 Is Not An End, But A Beginning\u003c/em>, you may have bought a ticket for the history lesson, but Gómez’s talent for illustration is the star attraction that keeps you in your seat. Nearly every panel could be framed and stand on its own. Gómez’s realistic style tethers an interest in the celestial and experimental to the organic, keeping the frequent shifts in subject engaging and relatable.\u003c/p>\n\u003cp>KQED Arts caught up with Gómez to learn what it is about 1963 that inspired a trip to the drawing table.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Why 1963?\u003c/strong>\u003c/p>\n\u003cp>So many reasons! Originally, two major events brought me here. \u003cem>X-Men\u003c/em>, my lifelong obsession, was first published in September 1963, and Gloria Steinem was a Playboy bunny then, undercover! I love me some espionage. After that, I was like “Hmm… I wonder what else happened?” Turns out, the March on Washington! That was the point of no return for me. So many important events happened in ’63 and I never saw anyone talk about them as a whole, so I decided that I would.\u003c/p>\n\u003cp>A few months before I finished my book, I saw a documentary about 1964 which was great, and I thought, “Oh no — I picked the wrong year!” (laughs). But I think ’63 is still more interesting. It really informs ’64.\u003c/p>\n\u003cp>\u003cstrong>Can you talk a little about the multimedia aspects of the book?\u003c/strong>\u003c/p>\n\u003cp>I illustrated the book in 13 different styles. The main one is a nod to “the paper bag test” which is based on Colorism, and is a major theme in \u003cem>1963 is Not an End, But a Beginning\u003c/em>. The rest were dependent on the events or subject of their respective pages. For instance, the fashion page was illustrated using makeup. There’s a coloring book spread on one of the pages where a girl is drinking from a “colored only” water fountain. There’s a page illustrated in the style of Jean Cocteau where he’s featured and there’s a page you read with 3D glasses.\u003c/p>\n\u003cp>For a fully immersive experience, you can even listen to a \u003ca href=\"https://www.youtube.com/playlist?list=PL0uF6TvBJaKmx7wth-SFTgUyWNkM8flhf\" rel=\"noopener\" target=\"_blank\">playlist of the music of 1963\u003c/a> while you read.\u003c/p>\n\u003cfigure id=\"attachment_13819147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/KQED_1963_10-800x614.jpg\" alt=\"A portion of '1963' about Gloria Steinem's Playboy bunny stint.\" width=\"800\" height=\"614\" class=\"size-medium wp-image-13819147\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-1020x782.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-1180x905.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-960x736.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-520x399.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10.jpg 1347w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of ‘1963’ about Gloria Steinem’s Playboy bunny stint. \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is this your first history comic? How does it differ from your other work?\u003c/strong>\u003c/p>\n\u003cp>It is. And it’s my first solo comic in general. I’ve lettered, colored & drawn comics for \u003ca href=\"http://tweaker.org/\" rel=\"noopener\" target=\"_blank\">Tweaker.org\u003c/a>, \u003ca href=\"http://www.pridecomics.com/\" rel=\"noopener\" target=\"_blank\">Pride High\u003c/a>, \u003ca href=\"https://comicbookrealm.com/publisher/5363/gravity-faggot-productions\" rel=\"noopener\" target=\"_blank\">Gravity Faggot\u003c/a>, Glamazonia, and \u003ca href=\"http://superstarhealtheducation.com/\" rel=\"noopener\" target=\"_blank\">Superstar Health Education\u003c/a>. Tweaker.org and Superstar Health Education are sites for harm reduction and sex ed. The others are fun LGBTQAI superhero comics. \u003cem>1963\u003c/em> is the first comic that I’ve written. I’ve always loved documentaries, musicals, and comic books. This is all of that rolled into one.\u003c/p>\n\u003cp>\u003cstrong>If there’s one theme that stands out in the book, it’s transformation. From Gloria Steinem’s undercover Bunny operation to the Casa Susanna cross-dressing sanctuary to superheroes. Was this intentional?\u003c/strong>\u003c/p>\n\u003cp>Yes, I’m glad you caught that. I always love when there’s a transformation scene in movies. I love secret identities and the suggestion that changing your clothes and attitude can be a disguise. Gloria Steinem is played by Kirstie Alley in her biopic “A Bunny’s Tale” and it has one of my favorite transformation scenes ever. The fictional character I created for \u003cem>1963\u003c/em>, Scarlet Sparrow, has the ability to morph. They’re the throughline of this book.\u003c/p>\n\u003cfigure id=\"attachment_13819148\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1020x1558.jpg\" alt=\"The March on Washington in '1963.'\" width=\"640\" height=\"978\" class=\"size-large wp-image-13819148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1020x1558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-800x1222.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-768x1173.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1180x1802.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-960x1466.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-240x367.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-375x573.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-520x794.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7.jpg 1341w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The March on Washington in ‘1963.’ \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let’s talk about your choice of color. Is there any significance in the change in color scheme halfway through the book?\u003c/strong>\u003c/p>\n\u003cp>A few things happened in June of ’63 that were “game changers,” and I figured it would be cool to switch up the art style to reflect this: the first woman in space, a variation of the “I Have a Dream” speech, and \u003cem>Leave it to Beaver\u003c/em> getting canceled. I know this last one sounds small in comparison, but this cancelation has been called the “end of the ’50s” and I can see why. The Cleaver family was really the face of the media portrayal of the ’50s, and that didn’t fit into the ’60s. The illustration style of black-and-white paint on brown paper has a nostalgic sepia-toned photograph feel, whereas the following month’s stark black-and-white illustration takes the reader to a shocking image of Vietnam, which hadn’t been discussed since the first page.\u003c/p>\n\u003cp>\u003cstrong>When did you first start drawing comics?\u003c/strong>\u003c/p>\n\u003cp>I’ve drawn comic-book-style characters since I was a kid, but the first time I drew sequential art was with the \u003cem>Glamazonia\u003c/em> trade paperback, which came out seven years to the day before I sent \u003cem>1963\u003c/em> to print.\u003c/p>\n\u003cp>\u003cstrong>Which came first — drag or comics? Does one inform the other?\u003c/strong>\u003c/p>\n\u003cp>One TOTALLY informs the other. I’ve been performing in drag for eight years now and have been published in comics for seven. I’ve been reading comics since 1992 with the relaunch of \u003cem>X-Men\u003c/em> No. 1, and I had been secretly putting on my mom’s clothes since I don’t know when. Almost all my comic book characters look like drag queens, and my drag is predominately cosplay based off comics, movies, television, and books. In fact, my drag family and I are starting a cosplay drag party this month at the Stud bar called \u003ca href=\"https://www.studsf.com/new-events/https/wwwfacebookcom/events/141426746638244\" rel=\"noopener\" target=\"_blank\">BoobTube\u003c/a>.\u003c/p>\n\u003cp>RuPaul is always saying “drag doesn’t hide who you are, it reveals who you are.” Superman’s “disguise” is actually taking off his real disguise (of glasses and office-drag) and showing his true self of having superpowers and wearing his family’s crest on his chest. My drag is often political, sometimes sad, and really flamboyant, whereas day to day, I’m pretty mild-mannered.\u003c/p>\n\u003cfigure id=\"attachment_13819144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/DiegoGo%CC%81mez_TransformationTu-800x501.jpg\" alt=\"Diego Gómez both in and out of drag as Trangela Lansbury.\" width=\"800\" height=\"501\" class=\"size-medium wp-image-13819144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-1180x739.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-960x602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-520x326.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu.jpg 1275w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diego Gómez both in and out of drag as Trangela Lansbury. \u003ccite>(Courtesy Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A recurring image in \u003cem>1963\u003c/em> is the Sugar Shack. What’s up with the Sugar Shack?\u003c/strong>\u003c/p>\n\u003cp>“Sugar Shack” is a \u003ca href=\"https://www.youtube.com/watch?v=iHzjfGF6MiU\" rel=\"noopener\" target=\"_blank\">really cute song\u003c/a> recorded in 1963 by Jimmy Gilmer & The Fireballs that’s very visual, so I wrote it into the story as a cafe where one of my characters works. \u003c/p>\n\u003cp>\u003cstrong>What do you hope readers will take away from your book?\u003c/strong>\u003c/p>\n\u003cp>I hope readers will be inspired by the civil rights leaders of ’63 and take to the streets to protest, resist and vote. My title, taken from a speech by Martin Luther King, Jr. at the March on Washington, says it all: “1963 is Not an End, But a Beginning.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘1963 Is Not An End, But A Beginning’ is available locally at Mission Comics, Dog Eared Books, and Alley Cat Books, as well as Diego Gómez’s \u003ca href=\"https://www.etsy.com/shop/DesignNurd\" rel=\"noopener\" target=\"_blank\">online store\u003c/a>. See more of Diego Gómez’s work \u003ca href=\"https://www.instagram.com/DesignNurd/\" rel=\"noopener\" target=\"_blank\">on Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The year of Martin Luther King, Jr.'s March on Washington, social upheaval loomed in ways both big and small — as captured in Diego Gómez's new comic book.",
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"title": "Journey into 1963 with Comic Artist Diego Gómez | KQED",
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"headline": "Journey into 1963 with Comic Artist Diego Gómez",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether crafting elaborate drag personas or drawing a provocatively \u003ca href=\"https://www.etsy.com/listing/569502077/skeletor-masters-of-the-universe-print?ref=shop_home_active_42\" rel=\"noopener\" target=\"_blank\">apple-bottomed rendition of He-Man nemesis Skeletor\u003c/a>, fantasy is clearly a specialty for San Francisco artist Diego Gómez. For those already familiar with Gomez’s penchant for amphibious femme makeovers and slutty superhero art, a decidedly earthbound subject like American history may initially seem a drab departure for a debut comic book. But Gómez’s \u003cem>1963 Is Not An End, But A Beginning\u003c/em> is not your standard Scholastic funny book.\u003c/p>\n\u003cp>From Larry Gonick’s old-school \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Cartoon_History_of_the_Universe\" rel=\"noopener\" target=\"_blank\">A Cartoon History of the Universe\u003c/a>\u003c/em> to Kate Beaton’s hilarious \u003cem>\u003ca href=\"http://www.harkavagrant.com/\" rel=\"noopener\" target=\"_blank\">Hark! A Vagrant\u003c/a>\u003c/em>, historical comics aren’t new terrain. Comparisons to Nate Powell’s award-winning \u003cem>March\u003c/em>, a three-volume magnum opus covering the ’60s civil rights movement, may immediately spring to mind (side note: behold the photos of \u003cem>March\u003c/em> co-creator and Congressman John Lewis \u003ca href=\"https://www.washingtonpost.com/news/comic-riffs/wp/2015/07/13/the-real-origin-story-behind-how-rep-john-lewis-became-the-hit-of-comic-con/?utm_term=.b459922bc7c3\" rel=\"noopener\" target=\"_blank\">cosplaying as himself at Comic-Con 2015\u003c/a> and become reborn).\u003c/p>\n\u003cp>But whereas \u003cem>March\u003c/em> dives deep into a single chapter of the civil rights movement, Gómez, who evaluates the year 1963 as a \u003ca href=\"https://www.youtube.com/watch?v=Rwq27MOZhC0\" rel=\"noopener\" target=\"_blank\">current-day drag performer\u003c/a> and founding member of POC performance group Yum Yum Club!, paints this comic with broader strokes. In fact, most events included here from 1963 are given equal billing, regardless of their traditional importance. Presented in a classic timeline style, Martin Luther King, Jr.’s “Letter from Birmingham Jail” is given the same amount of panel space as lesser-known events like the birth of transgender artist & activist \u003ca href=\"https://www.justinvivianbond.com/\" rel=\"noopener\" target=\"_blank\">Mx Justin Vivien Bond\u003c/a> and the publication of \u003ca href=\"https://www.comics.org/issue/17506/\" rel=\"noopener\" target=\"_blank\">\u003cem>Wonder Woman\u003c/em> No. 136\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-800x450.jpg\" alt=\"A panel from Diego Gómez's new comic book, '1963 is Not an End, But a Beginning.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13819145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_.jpg 1375w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Diego Gómez’s new comic book, ‘1963 is Not an End, But a Beginning.’ \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>1963 Is Not An End, But A Beginning\u003c/em>, you may have bought a ticket for the history lesson, but Gómez’s talent for illustration is the star attraction that keeps you in your seat. Nearly every panel could be framed and stand on its own. Gómez’s realistic style tethers an interest in the celestial and experimental to the organic, keeping the frequent shifts in subject engaging and relatable.\u003c/p>\n\u003cp>KQED Arts caught up with Gómez to learn what it is about 1963 that inspired a trip to the drawing table.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Why 1963?\u003c/strong>\u003c/p>\n\u003cp>So many reasons! Originally, two major events brought me here. \u003cem>X-Men\u003c/em>, my lifelong obsession, was first published in September 1963, and Gloria Steinem was a Playboy bunny then, undercover! I love me some espionage. After that, I was like “Hmm… I wonder what else happened?” Turns out, the March on Washington! That was the point of no return for me. So many important events happened in ’63 and I never saw anyone talk about them as a whole, so I decided that I would.\u003c/p>\n\u003cp>A few months before I finished my book, I saw a documentary about 1964 which was great, and I thought, “Oh no — I picked the wrong year!” (laughs). But I think ’63 is still more interesting. It really informs ’64.\u003c/p>\n\u003cp>\u003cstrong>Can you talk a little about the multimedia aspects of the book?\u003c/strong>\u003c/p>\n\u003cp>I illustrated the book in 13 different styles. The main one is a nod to “the paper bag test” which is based on Colorism, and is a major theme in \u003cem>1963 is Not an End, But a Beginning\u003c/em>. The rest were dependent on the events or subject of their respective pages. For instance, the fashion page was illustrated using makeup. There’s a coloring book spread on one of the pages where a girl is drinking from a “colored only” water fountain. There’s a page illustrated in the style of Jean Cocteau where he’s featured and there’s a page you read with 3D glasses.\u003c/p>\n\u003cp>For a fully immersive experience, you can even listen to a \u003ca href=\"https://www.youtube.com/playlist?list=PL0uF6TvBJaKmx7wth-SFTgUyWNkM8flhf\" rel=\"noopener\" target=\"_blank\">playlist of the music of 1963\u003c/a> while you read.\u003c/p>\n\u003cfigure id=\"attachment_13819147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/KQED_1963_10-800x614.jpg\" alt=\"A portion of '1963' about Gloria Steinem's Playboy bunny stint.\" width=\"800\" height=\"614\" class=\"size-medium wp-image-13819147\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-1020x782.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-1180x905.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-960x736.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-520x399.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10.jpg 1347w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of ‘1963’ about Gloria Steinem’s Playboy bunny stint. \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is this your first history comic? How does it differ from your other work?\u003c/strong>\u003c/p>\n\u003cp>It is. And it’s my first solo comic in general. I’ve lettered, colored & drawn comics for \u003ca href=\"http://tweaker.org/\" rel=\"noopener\" target=\"_blank\">Tweaker.org\u003c/a>, \u003ca href=\"http://www.pridecomics.com/\" rel=\"noopener\" target=\"_blank\">Pride High\u003c/a>, \u003ca href=\"https://comicbookrealm.com/publisher/5363/gravity-faggot-productions\" rel=\"noopener\" target=\"_blank\">Gravity Faggot\u003c/a>, Glamazonia, and \u003ca href=\"http://superstarhealtheducation.com/\" rel=\"noopener\" target=\"_blank\">Superstar Health Education\u003c/a>. Tweaker.org and Superstar Health Education are sites for harm reduction and sex ed. The others are fun LGBTQAI superhero comics. \u003cem>1963\u003c/em> is the first comic that I’ve written. I’ve always loved documentaries, musicals, and comic books. This is all of that rolled into one.\u003c/p>\n\u003cp>\u003cstrong>If there’s one theme that stands out in the book, it’s transformation. From Gloria Steinem’s undercover Bunny operation to the Casa Susanna cross-dressing sanctuary to superheroes. Was this intentional?\u003c/strong>\u003c/p>\n\u003cp>Yes, I’m glad you caught that. I always love when there’s a transformation scene in movies. I love secret identities and the suggestion that changing your clothes and attitude can be a disguise. Gloria Steinem is played by Kirstie Alley in her biopic “A Bunny’s Tale” and it has one of my favorite transformation scenes ever. The fictional character I created for \u003cem>1963\u003c/em>, Scarlet Sparrow, has the ability to morph. They’re the throughline of this book.\u003c/p>\n\u003cfigure id=\"attachment_13819148\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1020x1558.jpg\" alt=\"The March on Washington in '1963.'\" width=\"640\" height=\"978\" class=\"size-large wp-image-13819148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1020x1558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-800x1222.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-768x1173.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1180x1802.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-960x1466.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-240x367.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-375x573.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-520x794.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7.jpg 1341w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The March on Washington in ‘1963.’ \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let’s talk about your choice of color. Is there any significance in the change in color scheme halfway through the book?\u003c/strong>\u003c/p>\n\u003cp>A few things happened in June of ’63 that were “game changers,” and I figured it would be cool to switch up the art style to reflect this: the first woman in space, a variation of the “I Have a Dream” speech, and \u003cem>Leave it to Beaver\u003c/em> getting canceled. I know this last one sounds small in comparison, but this cancelation has been called the “end of the ’50s” and I can see why. The Cleaver family was really the face of the media portrayal of the ’50s, and that didn’t fit into the ’60s. The illustration style of black-and-white paint on brown paper has a nostalgic sepia-toned photograph feel, whereas the following month’s stark black-and-white illustration takes the reader to a shocking image of Vietnam, which hadn’t been discussed since the first page.\u003c/p>\n\u003cp>\u003cstrong>When did you first start drawing comics?\u003c/strong>\u003c/p>\n\u003cp>I’ve drawn comic-book-style characters since I was a kid, but the first time I drew sequential art was with the \u003cem>Glamazonia\u003c/em> trade paperback, which came out seven years to the day before I sent \u003cem>1963\u003c/em> to print.\u003c/p>\n\u003cp>\u003cstrong>Which came first — drag or comics? Does one inform the other?\u003c/strong>\u003c/p>\n\u003cp>One TOTALLY informs the other. I’ve been performing in drag for eight years now and have been published in comics for seven. I’ve been reading comics since 1992 with the relaunch of \u003cem>X-Men\u003c/em> No. 1, and I had been secretly putting on my mom’s clothes since I don’t know when. Almost all my comic book characters look like drag queens, and my drag is predominately cosplay based off comics, movies, television, and books. In fact, my drag family and I are starting a cosplay drag party this month at the Stud bar called \u003ca href=\"https://www.studsf.com/new-events/https/wwwfacebookcom/events/141426746638244\" rel=\"noopener\" target=\"_blank\">BoobTube\u003c/a>.\u003c/p>\n\u003cp>RuPaul is always saying “drag doesn’t hide who you are, it reveals who you are.” Superman’s “disguise” is actually taking off his real disguise (of glasses and office-drag) and showing his true self of having superpowers and wearing his family’s crest on his chest. My drag is often political, sometimes sad, and really flamboyant, whereas day to day, I’m pretty mild-mannered.\u003c/p>\n\u003cfigure id=\"attachment_13819144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/DiegoGo%CC%81mez_TransformationTu-800x501.jpg\" alt=\"Diego Gómez both in and out of drag as Trangela Lansbury.\" width=\"800\" height=\"501\" class=\"size-medium wp-image-13819144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-1180x739.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-960x602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-520x326.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu.jpg 1275w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diego Gómez both in and out of drag as Trangela Lansbury. \u003ccite>(Courtesy Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A recurring image in \u003cem>1963\u003c/em> is the Sugar Shack. What’s up with the Sugar Shack?\u003c/strong>\u003c/p>\n\u003cp>“Sugar Shack” is a \u003ca href=\"https://www.youtube.com/watch?v=iHzjfGF6MiU\" rel=\"noopener\" target=\"_blank\">really cute song\u003c/a> recorded in 1963 by Jimmy Gilmer & The Fireballs that’s very visual, so I wrote it into the story as a cafe where one of my characters works. \u003c/p>\n\u003cp>\u003cstrong>What do you hope readers will take away from your book?\u003c/strong>\u003c/p>\n\u003cp>I hope readers will be inspired by the civil rights leaders of ’63 and take to the streets to protest, resist and vote. My title, taken from a speech by Martin Luther King, Jr. at the March on Washington, says it all: “1963 is Not an End, But a Beginning.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘1963 Is Not An End, But A Beginning’ is available locally at Mission Comics, Dog Eared Books, and Alley Cat Books, as well as Diego Gómez’s \u003ca href=\"https://www.etsy.com/shop/DesignNurd\" rel=\"noopener\" target=\"_blank\">online store\u003c/a>. See more of Diego Gómez’s work \u003ca href=\"https://www.instagram.com/DesignNurd/\" rel=\"noopener\" target=\"_blank\">on Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Honey Mahogany's Queer Black Variety Show for Everyone",
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"content": "\u003cp>In the back of The Stud bar, bodies covered in sweat crowd the stage. Beneath a glittering disco ball, to the boom of screams and applause, Honey Mahogany appears from behind the curtain to reveal a black leather dress and boots up to her knees, her third costume change of the night.\u003c/p>\n\u003cp>This is no ordinary Friday night in September — it’s the kickoff of Folsom Street Fair weekend, which for tonight’s crowd might as well be an official San Francisco holiday. As she switches roles from lip-syncing Beyoncé hits to hostess, Mahogany reminds partygoers of the method to the proverbial madness. “I want you all to know that Black Fridays is special not just because it is a black variety show,” she says, “but also because we give all the proceeds to the Transgender Cultural District!” \u003c/p>\n\u003cfigure id=\"attachment_13809527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809527\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany sits at Mission Pie for an interview on Sept. 14. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talking with KQED, Mahogany says she created the monthly variety show as a space for queer and transgender people of color to perform. Since its debut in April of this year, it’s brought a mix of drag artists, burlesque dancers, musicians, spoken-word artists and comedians. Though the show draws a diverse crowd of attendees, Mahogany created it as an outlet for specifically black performers to be celebrated.\u003c/p>\n\u003cp>“It’s a show by black people, of black people, for everybody,” Mahogany says. “It’s also about welcoming non-black people into that space and being like ‘This is what we’re about, and this is who we are. Celebrate this with us.’”\u003c/p>\n\u003cfigure id=\"attachment_13809534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809534\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Militia Towers takes to the Black Fridays stage for the first time on Sept.22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s still this weird 80’s-style diversity, where if you have at least one of something other than your standard white person, then you’re diverse,” says Alotta Boutté, a performer who brings a mix of cabaret and burlesque to Black Fridays. “Something like Black Fridays normalizes the actual reality that there are many of us out here trying to perform and bring our heart to people.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Five years ago, Mahogany — fresh from her run as a contestant on \u003cem>RuPaul’s Drag Race\u003c/em> — began hosting \u003cem>Drag Race\u003c/em> viewing parties called “Mahogany Mondays.” Occasionally, she would host “Black Out” Mondays featuring all black performers, which morphed into what is now “Black Fridays,” every fourth Friday at The Stud.\u003c/p>\n\u003cfigure id=\"attachment_13809954\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BlackFri.1.jpg\" alt=\"Bionka Simone enters the stage for Black Fridays on Sept. 22.\" width=\"1920\" height=\"1277\" class=\"size-full wp-image-13809954\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-520x346.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bionka Simone enters the stage for Black Fridays on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Stud is an eclectic, 51-year-old gay bar that Mahogany \u003ca href=\"http://www.sfweekly.com/culture/feature-culture/how-the-stud-was-saved/\" rel=\"noopener\" target=\"_blank\">co-owns with 17 other people\u003c/a>. After its rent nearly tripled, The Stud was purchased by the collective a year ago to preserve the bar and its place in the community.\u003c/p>\n\u003cp>“The Stud has always been a very queer space and a place for artists, a place for people who didn’t necessarily identify with the more mainstream gay culture,” Mahogany says. The venue is unique in being not just a gay man’s space, but also a space for women, trans and gender nonconforming people, making it the ideal venue for Black Fridays, she adds.\u003c/p>\n\u003cp>“In San Francisco, we really live within this bubble of liberalism, but it’s almost like because we feel like we live in this bubble we feel like we are above racism and sexism,” Mahogany says. “Whether we realize it or not, we all feed into these oppressive systems. I just wanted to put the focus on that.”\u003c/p>\n\u003cfigure id=\"attachment_13809533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany slips dollar bills into the pocket of her co-host, Lance Holman on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a native San Franciscan growing up attending Catholic school, social service has long been a part of Mahogany’s life. She became involved in LGBTQ causes in college at USC and earned a Master’s in Social Work at UC Berkeley. Mahogany went to work as a social worker in the Bay Area with homeless youth and the LGBTQ community after graduating.\u003c/p>\n\u003cp>“My life has a lot of swinging back and forth between drag and social work, and somehow I always end up doing both,” Mahogany says. “I can never leave either one behind for very long.”\u003c/p>\n\u003cp>An activist in the neighborhood, Mahogany helped lead the fight to establish the Compton’s Transgender Cultural District in the Tenderloin, which is now slated to kickstart in October. Black Fridays have thus far raised roughly $3,000 for the effort.\u003c/p>\n\u003cfigure id=\"attachment_13809955\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BlackFri.2.jpg\" alt=\"Sgt. Die Wies and an assistant perform at Black Fridays on Sept. 22.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13809955\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sgt. Die Wies and an assistant perform at Black Fridays on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Honey Mahogany is an absolute treasure to have in San Francisco, she sets the bar really high,” says Qween (Travis Santell Rowland), a drag queen and spoken-word artist who has performed at several Black Fridays. “I think that she provides a very nurturing environment, both backstage and when she presents us to go onstage.”\u003c/p>\n\u003cp>Bouteé agrees. “A bunch of us were talking about this backstage… when you’re in such a close, intimate setting with a bunch of other white performers, you don’t fully understand how much you withhold of yourself,” she says. “I really appreciate those moments when there’s more than one of us backstage and you can be a little bit more yourself.”\u003c/p>\n\u003cfigure id=\"attachment_13809531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809531\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alotta Boutté lip-syncs to Ike and Tina Turner’s “I’m Yours” on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the audience hungry for more at The Stud, Mahogany draws back the curtain to announce Bouteé, her “drag daddy” and the final performer of the evening.\u003c/p>\n\u003cp>Dressed in a vibrant grape-colored skin tight dress, Boutté comes out gagged and wearing cuffs on her hands and feet. As the music to Ike and Tina Turner’s “I’m Yours” blares, dollars bills rain on her as an audience member releases her from the restraints and delivers a bill to Boutté’s mouth straight from between her teeth. Boutté shimmies across the stage and belts her lip-sync, exuding a magic that the audience grabs onto and eventually takes to the dance floor until the early hours of 4am.\u003c/p>\n\u003cp>A little bit more yourself, indeed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For more on Honey Mahogany and Black Fridays, follow her \u003ca href=\"https://www.facebook.com/honeymahoganyofficialfanpage/\" rel=\"noopener\" target=\"_blank\">official fan page\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the back of The Stud bar, bodies covered in sweat crowd the stage. Beneath a glittering disco ball, to the boom of screams and applause, Honey Mahogany appears from behind the curtain to reveal a black leather dress and boots up to her knees, her third costume change of the night.\u003c/p>\n\u003cp>This is no ordinary Friday night in September — it’s the kickoff of Folsom Street Fair weekend, which for tonight’s crowd might as well be an official San Francisco holiday. As she switches roles from lip-syncing Beyoncé hits to hostess, Mahogany reminds partygoers of the method to the proverbial madness. “I want you all to know that Black Fridays is special not just because it is a black variety show,” she says, “but also because we give all the proceeds to the Transgender Cultural District!” \u003c/p>\n\u003cfigure id=\"attachment_13809527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809527\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany sits at Mission Pie for an interview on Sept. 14. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talking with KQED, Mahogany says she created the monthly variety show as a space for queer and transgender people of color to perform. Since its debut in April of this year, it’s brought a mix of drag artists, burlesque dancers, musicians, spoken-word artists and comedians. Though the show draws a diverse crowd of attendees, Mahogany created it as an outlet for specifically black performers to be celebrated.\u003c/p>\n\u003cp>“It’s a show by black people, of black people, for everybody,” Mahogany says. “It’s also about welcoming non-black people into that space and being like ‘This is what we’re about, and this is who we are. Celebrate this with us.’”\u003c/p>\n\u003cfigure id=\"attachment_13809534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809534\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Militia Towers takes to the Black Fridays stage for the first time on Sept.22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s still this weird 80’s-style diversity, where if you have at least one of something other than your standard white person, then you’re diverse,” says Alotta Boutté, a performer who brings a mix of cabaret and burlesque to Black Fridays. “Something like Black Fridays normalizes the actual reality that there are many of us out here trying to perform and bring our heart to people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Five years ago, Mahogany — fresh from her run as a contestant on \u003cem>RuPaul’s Drag Race\u003c/em> — began hosting \u003cem>Drag Race\u003c/em> viewing parties called “Mahogany Mondays.” Occasionally, she would host “Black Out” Mondays featuring all black performers, which morphed into what is now “Black Fridays,” every fourth Friday at The Stud.\u003c/p>\n\u003cfigure id=\"attachment_13809954\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BlackFri.1.jpg\" alt=\"Bionka Simone enters the stage for Black Fridays on Sept. 22.\" width=\"1920\" height=\"1277\" class=\"size-full wp-image-13809954\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-520x346.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bionka Simone enters the stage for Black Fridays on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Stud is an eclectic, 51-year-old gay bar that Mahogany \u003ca href=\"http://www.sfweekly.com/culture/feature-culture/how-the-stud-was-saved/\" rel=\"noopener\" target=\"_blank\">co-owns with 17 other people\u003c/a>. After its rent nearly tripled, The Stud was purchased by the collective a year ago to preserve the bar and its place in the community.\u003c/p>\n\u003cp>“The Stud has always been a very queer space and a place for artists, a place for people who didn’t necessarily identify with the more mainstream gay culture,” Mahogany says. The venue is unique in being not just a gay man’s space, but also a space for women, trans and gender nonconforming people, making it the ideal venue for Black Fridays, she adds.\u003c/p>\n\u003cp>“In San Francisco, we really live within this bubble of liberalism, but it’s almost like because we feel like we live in this bubble we feel like we are above racism and sexism,” Mahogany says. “Whether we realize it or not, we all feed into these oppressive systems. I just wanted to put the focus on that.”\u003c/p>\n\u003cfigure id=\"attachment_13809533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany slips dollar bills into the pocket of her co-host, Lance Holman on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a native San Franciscan growing up attending Catholic school, social service has long been a part of Mahogany’s life. She became involved in LGBTQ causes in college at USC and earned a Master’s in Social Work at UC Berkeley. Mahogany went to work as a social worker in the Bay Area with homeless youth and the LGBTQ community after graduating.\u003c/p>\n\u003cp>“My life has a lot of swinging back and forth between drag and social work, and somehow I always end up doing both,” Mahogany says. “I can never leave either one behind for very long.”\u003c/p>\n\u003cp>An activist in the neighborhood, Mahogany helped lead the fight to establish the Compton’s Transgender Cultural District in the Tenderloin, which is now slated to kickstart in October. Black Fridays have thus far raised roughly $3,000 for the effort.\u003c/p>\n\u003cfigure id=\"attachment_13809955\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BlackFri.2.jpg\" alt=\"Sgt. Die Wies and an assistant perform at Black Fridays on Sept. 22.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13809955\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sgt. Die Wies and an assistant perform at Black Fridays on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Honey Mahogany is an absolute treasure to have in San Francisco, she sets the bar really high,” says Qween (Travis Santell Rowland), a drag queen and spoken-word artist who has performed at several Black Fridays. “I think that she provides a very nurturing environment, both backstage and when she presents us to go onstage.”\u003c/p>\n\u003cp>Bouteé agrees. “A bunch of us were talking about this backstage… when you’re in such a close, intimate setting with a bunch of other white performers, you don’t fully understand how much you withhold of yourself,” she says. “I really appreciate those moments when there’s more than one of us backstage and you can be a little bit more yourself.”\u003c/p>\n\u003cfigure id=\"attachment_13809531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809531\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alotta Boutté lip-syncs to Ike and Tina Turner’s “I’m Yours” on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the audience hungry for more at The Stud, Mahogany draws back the curtain to announce Bouteé, her “drag daddy” and the final performer of the evening.\u003c/p>\n\u003cp>Dressed in a vibrant grape-colored skin tight dress, Boutté comes out gagged and wearing cuffs on her hands and feet. As the music to Ike and Tina Turner’s “I’m Yours” blares, dollars bills rain on her as an audience member releases her from the restraints and delivers a bill to Boutté’s mouth straight from between her teeth. Boutté shimmies across the stage and belts her lip-sync, exuding a magic that the audience grabs onto and eventually takes to the dance floor until the early hours of 4am.\u003c/p>\n\u003cp>A little bit more yourself, indeed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For more on Honey Mahogany and Black Fridays, follow her \u003ca href=\"https://www.facebook.com/honeymahoganyofficialfanpage/\" rel=\"noopener\" target=\"_blank\">official fan page\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With her joyful, game-for-anything confidence and impressive ability to make stilettos look comfortable, Persia is one of San Francisco’s most beloved drag queens. Her nightclub performances are legendary, as are her \u003ca href=\"https://www.youtube.com/watch?v=2Ed3i9Srn-M\" target=\"_blank\" rel=\"noopener noreferrer\">star turns in music videos\u003c/a> — but you might not know that she also teaches at Children’s After School Arts (CASA) and reads to kids at the SF Public Library’s Drag Queen Story Hour.\u003c/p>\n\u003cp>Persia makes it look easy. But as KQED Arts learned on a recent visit, her journey has been anything but simple. Watch the video above for a peek behind the (fabulous, sequined) curtain.\u003cem> —Emma Silvers\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With her joyful, game-for-anything confidence and impressive ability to make stilettos look comfortable, Persia is one of San Francisco’s most beloved drag queens. Her nightclub performances are legendary, as are her \u003ca href=\"https://www.youtube.com/watch?v=2Ed3i9Srn-M\" target=\"_blank\" rel=\"noopener noreferrer\">star turns in music videos\u003c/a> — but you might not know that she also teaches at Children’s After School Arts (CASA) and reads to kids at the SF Public Library’s Drag Queen Story Hour.\u003c/p>\n\u003cp>Persia makes it look easy. But as KQED Arts learned on a recent visit, her journey has been anything but simple. Watch the video above for a peek behind the (fabulous, sequined) curtain.\u003cem> —Emma Silvers\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“Growing up as a little gay kid,” Juanita More says, “drag wasn’t something I wanted to do.”\u003c/p>\n\u003cp>It’s an early evening in August and we’re standing at the edge of a bar in the Starlight Room at the Sir Francis Drake Hotel, where More has been hosting a happy hour. Friends of hers — and there are so many — intermittently interrupt us to give her a kiss hello or goodbye. The pop music is thumps loudly and we have to shout to hear each other over the din. Her makeup is bold, but immaculate, as usual.\u003c/p>\n\u003cp>Juanita More is a \u003ca href=\"http://juanitamore.com/\" target=\"_blank\" rel=\"noopener\">quintessential San Francisco drag queen\u003c/a>. She’s been performing for 20 years, and is deeply entwined with the other major players in the drag scene. She’s also a pillar in the queer community; she hosts regular parties and happy hours around the city, and every year hosts a fundraising party on the Sunday of Pride weekend. Oh — and every now and then she stars in a music video, like the New Pornographers’ one below.\u003c/p>\n\u003cp>https://vimeo.com/19509840\u003c/p>\n\u003cp>Right now More is prepping for her next show — called, ahem, “Puttin’ on the Titz” — which stars More alongside seven other drag queens, and \u003ca href=\"https://tickets.act-sf.org/online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=FFBA12B1-745C-4AD2-BD18-D8EB800C196E\" target=\"_blank\" rel=\"noopener\">takes place at A.C.T.’s Strand Theater this Friday, Nov. 11\u003c/a>. The show’s pieces are based on music from the ’30s, ’40s, and ’50s. With any luck, it may become a quarterly installation at the Strand, says More — which might be comforting news to fans of\u003ca href=\"http://hoodline.com/2015/11/juanita-more-s-booty-call-wednesdays-coming-to-an-end-this-month\" target=\"_blank\" rel=\"noopener\"> Booty Call Wednesdays\u003c/a>, a long-running weekly party that More hosted at QBar from 2008 to 2015.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Given that More (whose preferred pronouns change with her clothes) would eventually take on the persona of Juanita to become one of San Francisco’s essential drag queens, it’s funny that as a young boy, he initially thought drag queens were “really rude and obnoxious and loud.” But he ended up hanging around them, nonetheless.\u003c/p>\n\u003cp>As a kid in the East Bay, More saw a performance of the comic play \u003cem>The Neon Woman\u003c/em>, starring drag queen Divine, that inspired him. Then, while living in New York for a few years in the late 1980s, he hung around drag queens like Glamamore — who would later become More’s drag mother, a term used in the community for an intimate mentor who introduces a young queen to the drag world and supports her as she develops her identity. Glamamore, Princess Diandra and other elders all worked at Boy Bar in NYC’s East Village, where More spent some formative years.\u003c/p>\n\u003cp>“I still wasn’t into drag,” More says — but he was happy to carry any of the drag queens’ bags around.\u003c/p>\n\u003cfigure id=\"attachment_12318487\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/static1.squarespace.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12318487\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/static1.squarespace-800x481.jpg\" alt=\"Juanita More\" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/static1.squarespace-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/static1.squarespace-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/static1.squarespace-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/static1.squarespace-960x577.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/static1.squarespace-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/static1.squarespace-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/static1.squarespace-520x313.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/static1.squarespace.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita More. \u003ccite>(Joe Montana)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More moved back to the Bay Area and eventually began to do drag himself in the early ’90s. “When I look back now,” she says, “all those girls that were performing then, at that time, at Boy Bar — [what they were doing] is still what I aim for; it’s still what I love. It’s still what I respect. Those girls performed all the time, and really loved and were passionate about what they were doing, in a different way than I think the popular drag queens are now.\u003c/p>\n\u003cp>“In the beginning of my early years of drag in San Francisco,” she explains, “I felt I was searching to find who Juanita was, as all young drag queens do.”\u003c/p>\n\u003cp>That process, which was strongly guided by several mentors, brought her to today — when she calls drag her j-o-b. More says it takes her about three hours to get in drag for each event: that includes styling wigs, putting on makeup, and using special padding to accentuate her curves.\u003c/p>\n\u003cfigure id=\"attachment_12318491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12318491\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-800x1067.jpg\" alt=\"Juanita More's colorful, crowded storage unit.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita More’s colorful, crowded storage unit.\u003c/figcaption>\u003c/figure>\n\u003cp>This part of the job isn’t, she says, always fun. Sometimes she has a specific look in mind but can’t quite make it gel. She’s actually written into some of her contracts, “If I’m late it’s not because I’m fucking with you. It’s because my zipper broke or my wig fell apart.” But even when her preparation doesn’t quite go as planned, “When I actually get to an event, I go ‘Oh, I can relax.’ I feel comfortable and at home again.”\u003c/p>\n\u003cp>This is not to say, however, that Juanita is the ultimate expression of More’s personality. “As my alter ego,” she says, “I’m a shy, regular normal guy. Which is pretty normal for a drag queen.”\u003c/p>\n\u003cp>Because she grew up in the East Bay, she has friends from high school who she still sees, who are not involved in her drag life. Her family, also, is not involved, though they know what she does and they love it. That is her ordinary life, the one that she says “keeps me really grounded.” It’s also a source of inspiration. Doing her drag work and being out, she says, doesn’t allow her to be creative.\u003c/p>\n\u003cp>“Being with my family,” she says, “going away for the weekend with friends, that’s when I plan things, dream about things.”\u003c/p>\n\u003cp>Her creativity, too, is tied into her relationship with Glamamore, her drag mother. When not in drag, Glamamore is Mr. David, a fashion designer for whom More serves as inspiration. In total, Mr. David has made Juanita around 3,000 pieces.\u003c/p>\n\u003cp>“That includes re-covering shoes, handbags, gloves, dresses, coats, even my undergarments,” says More. “Even my padding. All of it.”\u003c/p>\n\u003cp>In May of last year, the de Young did a retrospective of\u003ca href=\"https://deyoung.famsf.org/calendar/mr-david-juanita-more-24-years-more-runway-show\" target=\"_blank\" rel=\"noopener\"> 24 years of Mr. David’s work for More\u003c/a>. “I could see myself continuing what I do without him,” More says, “but I don’t know that I would want to. Because we created this together, you know, I really became his muse.” More says Mr. David has pushed her to perform when she didn’t want to, and she’s helped get him to sew again when he felt he couldn’t.\u003c/p>\n\u003cp>This supportive side of her is also reflected in her annual Pride party. Each year for the past 20, she has picked a different community nonprofit to benefit. Last year it was Queer Lifespace, which offers counseling and mental health services to the queer community. More says the party raised around $70,000 for the organization.\u003c/p>\n\u003cp>“Even after it happened,” she says, “I’m like, did that really happen?” She started having her party on Pride weekend’s Sunday in 2003. “It felt like actual San Francisco Pride wasn’t really connecting with me or my friends [anymore],” she says, noting that it had become “so corporate.”\u003c/p>\n\u003cp>Aside from her party, More has also become a famously nurturing figure in the queer community. “I’m mother to a lot of kids in San Francisco,” More says. “I really have nights when I go out and boys, you know, they tell me they broke up with their boyfriend that night, or boys have told me their HIV status when they’re out with me. I really hear a lot of different conversations as the night goes on.”\u003c/p>\n\u003cp>So it’s not surprising that, throughout her more than 20 years as a drag queen, More has become a drag mother to several younger queens, including Dulce De Leche, Phyllis Navidad and Candi Gurl. She’s been particular about who she’ll mother, which, she says, has “proven to be a good thing.” Still, she knows she’s filling an essential role — ushering in the next generation of drag queens, helping them to become the most stunning, fabulous versions of their drag selves.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Puttin’ on the Titz,’ featuring More, Qween, Miss Rahni, Honey Mahogany, Voodonna Black, Glamamore, Dulce De Leche, and Fauxnique, takes place at 7pm on Friday, Nov. 11, at the Strand Theater in San Francisco. Tickets ($25–$35) and more details \u003ca href=\"https://tickets.act-sf.org/Online/default.asp?doWork%3A%3AWScontent%3A%3AloadArticle=Load&BOparam%3A%3AWScontent%3A%3AloadArticle%3A%3Aarticle_id=FFBA12B1-745C-4AD2-BD18-D8EB800C196E\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Growing up as a little gay kid,” Juanita More says, “drag wasn’t something I wanted to do.”\u003c/p>\n\u003cp>It’s an early evening in August and we’re standing at the edge of a bar in the Starlight Room at the Sir Francis Drake Hotel, where More has been hosting a happy hour. Friends of hers — and there are so many — intermittently interrupt us to give her a kiss hello or goodbye. The pop music is thumps loudly and we have to shout to hear each other over the din. Her makeup is bold, but immaculate, as usual.\u003c/p>\n\u003cp>Juanita More is a \u003ca href=\"http://juanitamore.com/\" target=\"_blank\" rel=\"noopener\">quintessential San Francisco drag queen\u003c/a>. She’s been performing for 20 years, and is deeply entwined with the other major players in the drag scene. She’s also a pillar in the queer community; she hosts regular parties and happy hours around the city, and every year hosts a fundraising party on the Sunday of Pride weekend. Oh — and every now and then she stars in a music video, like the New Pornographers’ one below.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Right now More is prepping for her next show — called, ahem, “Puttin’ on the Titz” — which stars More alongside seven other drag queens, and \u003ca href=\"https://tickets.act-sf.org/online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=FFBA12B1-745C-4AD2-BD18-D8EB800C196E\" target=\"_blank\" rel=\"noopener\">takes place at A.C.T.’s Strand Theater this Friday, Nov. 11\u003c/a>. The show’s pieces are based on music from the ’30s, ’40s, and ’50s. With any luck, it may become a quarterly installation at the Strand, says More — which might be comforting news to fans of\u003ca href=\"http://hoodline.com/2015/11/juanita-more-s-booty-call-wednesdays-coming-to-an-end-this-month\" target=\"_blank\" rel=\"noopener\"> Booty Call Wednesdays\u003c/a>, a long-running weekly party that More hosted at QBar from 2008 to 2015.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Given that More (whose preferred pronouns change with her clothes) would eventually take on the persona of Juanita to become one of San Francisco’s essential drag queens, it’s funny that as a young boy, he initially thought drag queens were “really rude and obnoxious and loud.” But he ended up hanging around them, nonetheless.\u003c/p>\n\u003cp>As a kid in the East Bay, More saw a performance of the comic play \u003cem>The Neon Woman\u003c/em>, starring drag queen Divine, that inspired him. Then, while living in New York for a few years in the late 1980s, he hung around drag queens like Glamamore — who would later become More’s drag mother, a term used in the community for an intimate mentor who introduces a young queen to the drag world and supports her as she develops her identity. Glamamore, Princess Diandra and other elders all worked at Boy Bar in NYC’s East Village, where More spent some formative years.\u003c/p>\n\u003cp>“I still wasn’t into drag,” More says — but he was happy to carry any of the drag queens’ bags around.\u003c/p>\n\u003cfigure id=\"attachment_12318487\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/static1.squarespace.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12318487\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/static1.squarespace-800x481.jpg\" alt=\"Juanita More\" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/static1.squarespace-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/static1.squarespace-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/static1.squarespace-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/static1.squarespace-960x577.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/static1.squarespace-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/static1.squarespace-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/static1.squarespace-520x313.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/static1.squarespace.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita More. \u003ccite>(Joe Montana)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More moved back to the Bay Area and eventually began to do drag himself in the early ’90s. “When I look back now,” she says, “all those girls that were performing then, at that time, at Boy Bar — [what they were doing] is still what I aim for; it’s still what I love. It’s still what I respect. Those girls performed all the time, and really loved and were passionate about what they were doing, in a different way than I think the popular drag queens are now.\u003c/p>\n\u003cp>“In the beginning of my early years of drag in San Francisco,” she explains, “I felt I was searching to find who Juanita was, as all young drag queens do.”\u003c/p>\n\u003cp>That process, which was strongly guided by several mentors, brought her to today — when she calls drag her j-o-b. More says it takes her about three hours to get in drag for each event: that includes styling wigs, putting on makeup, and using special padding to accentuate her curves.\u003c/p>\n\u003cfigure id=\"attachment_12318491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12318491\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-800x1067.jpg\" alt=\"Juanita More's colorful, crowded storage unit.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/juanita-storage-unit-2016-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita More’s colorful, crowded storage unit.\u003c/figcaption>\u003c/figure>\n\u003cp>This part of the job isn’t, she says, always fun. Sometimes she has a specific look in mind but can’t quite make it gel. She’s actually written into some of her contracts, “If I’m late it’s not because I’m fucking with you. It’s because my zipper broke or my wig fell apart.” But even when her preparation doesn’t quite go as planned, “When I actually get to an event, I go ‘Oh, I can relax.’ I feel comfortable and at home again.”\u003c/p>\n\u003cp>This is not to say, however, that Juanita is the ultimate expression of More’s personality. “As my alter ego,” she says, “I’m a shy, regular normal guy. Which is pretty normal for a drag queen.”\u003c/p>\n\u003cp>Because she grew up in the East Bay, she has friends from high school who she still sees, who are not involved in her drag life. Her family, also, is not involved, though they know what she does and they love it. That is her ordinary life, the one that she says “keeps me really grounded.” It’s also a source of inspiration. Doing her drag work and being out, she says, doesn’t allow her to be creative.\u003c/p>\n\u003cp>“Being with my family,” she says, “going away for the weekend with friends, that’s when I plan things, dream about things.”\u003c/p>\n\u003cp>Her creativity, too, is tied into her relationship with Glamamore, her drag mother. When not in drag, Glamamore is Mr. David, a fashion designer for whom More serves as inspiration. In total, Mr. David has made Juanita around 3,000 pieces.\u003c/p>\n\u003cp>“That includes re-covering shoes, handbags, gloves, dresses, coats, even my undergarments,” says More. “Even my padding. All of it.”\u003c/p>\n\u003cp>In May of last year, the de Young did a retrospective of\u003ca href=\"https://deyoung.famsf.org/calendar/mr-david-juanita-more-24-years-more-runway-show\" target=\"_blank\" rel=\"noopener\"> 24 years of Mr. David’s work for More\u003c/a>. “I could see myself continuing what I do without him,” More says, “but I don’t know that I would want to. Because we created this together, you know, I really became his muse.” More says Mr. David has pushed her to perform when she didn’t want to, and she’s helped get him to sew again when he felt he couldn’t.\u003c/p>\n\u003cp>This supportive side of her is also reflected in her annual Pride party. Each year for the past 20, she has picked a different community nonprofit to benefit. Last year it was Queer Lifespace, which offers counseling and mental health services to the queer community. More says the party raised around $70,000 for the organization.\u003c/p>\n\u003cp>“Even after it happened,” she says, “I’m like, did that really happen?” She started having her party on Pride weekend’s Sunday in 2003. “It felt like actual San Francisco Pride wasn’t really connecting with me or my friends [anymore],” she says, noting that it had become “so corporate.”\u003c/p>\n\u003cp>Aside from her party, More has also become a famously nurturing figure in the queer community. “I’m mother to a lot of kids in San Francisco,” More says. “I really have nights when I go out and boys, you know, they tell me they broke up with their boyfriend that night, or boys have told me their HIV status when they’re out with me. I really hear a lot of different conversations as the night goes on.”\u003c/p>\n\u003cp>So it’s not surprising that, throughout her more than 20 years as a drag queen, More has become a drag mother to several younger queens, including Dulce De Leche, Phyllis Navidad and Candi Gurl. 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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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