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"content": "\u003cp>There’s a certain kind of \u003ca href=\"https://www.kqed.org/science/1997477/fishnets-and-fossil-fuels-meet-3-bay-area-climate-conscious-drag-artists\">queer magic\u003c/a> that thrives along the Russian River.\u003c/p>\n\u003cp>For more than a century, queer people have sought refuge in rural Sonoma County, leaving the stress of city life for the peace — and parties — of the sprawling river valley and redwood forests. Artists, hippies, nude sun bathers, cruisers and even disco legends like \u003ca href=\"https://www.kqed.org/arts/13854644/how-the-world-caught-up-to-sylvester\">Sylvester\u003c/a> have all flocked there over the decades.\u003c/p>\n\u003cp>Now, two groups, \u003ca href=\"https://www.shelterwoodcollective.org/\">Shelterwood Collective\u003c/a> and \u003ca href=\"https://www.solarpunkfarms.com/\">Solar Punk Farms\u003c/a>, are actively calling queer people back to the land, and not only to party. They’re creating a different type of magic: Shelterwood is restoring acres of forest through Indigenous practices like controlled burns, and Solar Punk advocates for environmental policy and farms the land — all while making space for queer community-building, joy and self-expression.\u003c/p>\n\u003cp>“I’m not selling this as a panacea, but as one small piece of a larger puzzle of correcting the arc of history,” said Shelterwood co-founder Nikola Alexandre. “It matters that the last gas station before coming to Shelterwood and leaving is in Guerneville, which is maybe the gayest rural town in the U.S.”\u003c/p>\n\u003cfigure id=\"attachment_13984071\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984071\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-37-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-37-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-37-KQED-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-37-KQED-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-37-KQED-1536x1177.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nikola Alexandre, of Shelterwood Collective, poses for a portrait at the property in Cazadero on Nov. 1, 2025. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Caring for our elders’\u003c/h2>\n\u003cp>About half an hour northwest of Guerneville, Shelterwood is an oasis that centers queer, trans, Black, Indigenous and disabled people. The property was once a \u003ca href=\"https://www.pressdemocrat.com/2020/04/18/looking-back-on-the-cazadero-cult-camp-hundred-years-later/\">religious cult \u003c/a>and later a Christian camp. Since 2021, Shelterwood Collective has cared for its 900 acres of forest through stream restoration, forest thinning and prescribed burns.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The forested valley, surrounded by a ridge, is home to wild boars, foxes, deer, mountain lions and the occasional bear. The Kashia Band of Pomo Indians stewarded these lands for thousands of years. White settlers and the federal government forced them from their ancestral lands in the 1800s, which also eliminated their practice of \u003ca href=\"https://www.kqed.org/arts/13983729/good-fire-tending-native-lands-review-oakland-museum-california\">cultural burning\u003c/a>. In the mid-19th century, loggers turned the nearby town of Cazadero into a major timber hub. [aside postid='arts_13983729']\u003c/p>\n\u003cp>Alexandre said that when Shelterwood purchased the land, it was overgrown due to poor management and needed room to breathe. With a five-year grant from Cal Fire, the group is physically thinning the forest and using prescribed fire to allow native species such as blue oak, sword fern and hummingbird sage to thrive once again.\u003c/p>\n\u003cp>“We’re not trying to micromanage a forest, we’re caring for our elders,” Alexandre said of large trees unscathed by fire during a prescribed burn in October.\u003c/p>\n\u003cp>Standing on a cascading hillside meadow, with billowing smoke around him, Alexandre said actively burning the crowded forest has a two-fold purpose: tending the land \u003ci>and\u003c/i> queer hearts.\u003c/p>\n\u003cp>“The mythology that we are not part of these ecosystems, or that the only thing that happens to Black folk in the woods is negative or harmful, is one that I sought to truly push back against,” Alexandre said.\u003c/p>\n\u003cfigure id=\"attachment_13984073\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984073\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-01-KQED-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-01-KQED-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-01-KQED-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-01-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-01-KQED-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Free Freddie performs during Shelterwood’s summer campout in July 2025. \u003ccite>(Courtesy of Brandon Simmoneau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Giving ‘queerness space to breathe’\u003c/h2>\n\u003cp>Shelterwood’s work isn’t just physical, it’s communal. The five people who live on the property, along with visiting friends and organizers, host weekend gatherings centered on queer folk.\u003c/p>\n\u003cp>Around Halloween, at a party called 900 Acres and a Ghoul, dozens of queer people dressed as sexy witches, a giant slice of pizza in a jock strap and horror movie characters like Casey Becker from \u003ci>Scream\u003c/i>. The group of mostly 20- and 30-somethings danced to techno under a canopy of branches, carved pumpkins, connected in cuddle puddles and hiked in the fog.\u003c/p>\n\u003cp>“We dance with our human and non-human kin for a couple of days, and that is the joy that fuels many of us,” Alexandre said.\u003c/p>\n\u003cp>Matt Wood made the two-and-a-half-hour trek from San Francisco. The 30-year-old said every time he visits, he feels a little bit more restored.\u003c/p>\n\u003cp>“I think it’s also healed my relationship with nature a lot,” Wood said. “I had to relearn what it means to hike or camp because I associated those with white, higher socioeconomic activities.”\u003c/p>\n\u003cp>Wood has also learned the healing nature of prescribed fire, and sees his experience at Shelterwood as parallel to burning off the hardness of city life.\u003c/p>\n\u003cfigure id=\"attachment_13984074\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984074\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-02-KQED-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-02-KQED-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-02-KQED-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-02-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-02-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-02-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-02-KQED-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">DJ 80085 performs during Shelterwood’s summer campout in July 2025. \u003ccite>(Courtesy of Brandon Simmoneau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A good burn was something I never knew about, but this maintains the health of the forest,” Wood said. “I think that’s something that we can all kind of apply as well.”\u003c/p>\n\u003cp>For Brandon Jones, Shelterwood’s executive director, restoring the forest and holding space for queer people is about developing a sense of sanctuary. The sprawling property gives “queerness space to breathe,” Jones said. “There’s something radical about removing queerness from confinement and throwing it into the open space to frolic.”\u003c/p>\n\u003cp>To keep the magic intact, Jones is figuring out how to shift Shelterwood from relying on grants to a retreat model for events and weddings, with potential for a farm and restaurant. Jones said he’s exploring more reliable funding options, as grants and private funding become harder to acquire in the current political climate.\u003c/p>\n\u003cp>“Once you get through our gates, there is spaciousness,” Jones said. “That’s part of the magic.”\u003c/p>\n\u003cfigure id=\"attachment_13984064\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984064\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-8-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-8-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-8-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-8-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-8-KQED-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nick Schwanz trains a cucumber plant to grow upward at Solar Punk Farms in Guerneville on Nov. 1, 2025. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Planting the seeds of sustainability\u003c/h2>\n\u003cp>The Shelterwood Collective isn’t alone in its mission of centering queerness and climate resilience. About 20 miles away from Shelterwood, Nick Schwanz and Spencer Scott run Solar Punk Farms in Guerneville. It’s a working farm, a communal home they share with at least two others and a redwood forest.\u003c/p>\n\u003cp>Fed up with their jobs in health and tech in San Francisco, the couple wanted to live in a way that could make a tangible difference to the environment. At first, they dabbled in climate-related jobs. But they wanted to get their hands dirty, so they began looking for a piece of land. In 2020, they bought a 10-acre parcel in Guerneville with their savings.\u003c/p>\n\u003cp>“The queer history there was one of the big things that really drew us to the space,” Schwanz said.\u003c/p>\n\u003cp>The couple wants to help make the entire Russian River area resilient enough to weather future floods and fires. They see the Russian River’s queer history and the local climate movement as important factors in protecting the region.\u003c/p>\n\u003cp>“Queer people know that we have to protect each other,” Scott said. “No one’s coming to save us, we’ve got to do it ourselves.”\u003c/p>\n\u003cfigure id=\"attachment_13984065\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984065\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-9-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-9-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-9-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-9-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-9-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spencer Scott picks the last apples of the harvest at Solar Punk Farms in Guerneville on Nov. 1, 2025. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They grow squash, tomatoes and other produce, and host environmental salons, natural wine events and climate-themed drag shows.\u003c/p>\n\u003cp>“Our mission is to make the sustainability movement feel irresistible, not just essential or something that we \u003cem>should\u003c/em> do, but something that you really want to do because it’s fun, sexy and interesting,” Schwanz said. [aside postid='arts_13979195']\u003c/p>\n\u003cp>The duo’s move to Guerneville isn’t just about harvesting vegetables and raising chickens. They want to “shift culture” by influencing local policy to better support the environment. Schwanz is the president of the Russian River Chamber of Commerce, and Scott is on the county’s Lower Russian River Municipal Advisory Council.\u003c/p>\n\u003cp>Their influence is starting to have an impact. Schwanz pushed the chamber to adopt a goal of making the area a regeneration hotspot, and next year it aims to co-host a countywide festival focused on river health.\u003c/p>\n\u003cp>“The goal is to take Guerneville’s super power of getting a ton of people here and having a great time and diverting that energy towards a climate goal,” Schwanz said. “The sense is that every year is worse than the last. Our near-term goal is to feel like every year’s better than the past.”\u003c/p>\n\u003cfigure id=\"attachment_13984062\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984062\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-4-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-4-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-4-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-4-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-4-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chickens roam around Solar Punk Farms in Guerneville on Nov. 1, 2025. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schwanz and Scott are also friends with Alexandre from Shelterwood Collective and hope to learn from the group’s forest restoration efforts.\u003c/p>\n\u003cp>“We’re hoping to get some guidance on how to best do forest thinning, burn piles and controlled burns,” Scott said.\u003c/p>\n\u003cp>Alexandre believes the restoration work by Solar Punk Farms, albeit on a very different scale, is essential, and it’s even more vital that queer communities focused on climate remain undivided.\u003c/p>\n\u003cp>“It’s my hope that these kinds of communities, collectives and sub-regional groupings of folks who are in close relationship with this place will become more and more frequent,” Alexandre said. [aside postid='science_1997477']\u003c/p>\n\u003ch2>A long queer history\u003c/h2>\n\u003cp>Gay San Franciscans began flocking to the Russian River in the 1920s and never stopped. The area served as a vacation destination, with people taking ferries, trains and cars to its redwood-lined riverbanks.\u003c/p>\n\u003cp>“They wanted to get away from the stultifying rules about how you’re supposed to live your life, and your sexuality is part of that,” said Tina Dungan, who teaches a course on Sonoma County’s LGBTQ+ history at Santa Rosa Junior College. “It’s the beauty of being in the trees.”\u003c/p>\n\u003cp>Shad Reinstein, an independent researcher in LGBTQ+ history, described the Russian River of the 1960s–’80s as the West Coast’s Fire Island. Bars, restaurants and hotels catered to the queer community. Journalists at the time called the area “the New Gay Mecca” and “a resort town that welcomes gays.”\u003c/p>\n\u003cfigure id=\"attachment_13984176\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984176\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Sylvester.jpg\" alt=\"A vintage photo of a disco star performing in front of a crowd of young, gay fans.\" width=\"2000\" height=\"1317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Sylvester.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Sylvester-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Sylvester-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Sylvester-1536x1011.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sylvester performs at the The Woods Hexagon House in 1984. \u003ccite>(Courtesy of Loren Henry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She said so many gay men visited the area that she believes artists like the Weather Girls, who performed at a resort there, found an audience for their song “It’s Raining Men” among the throngs of shirtless men.\u003c/p>\n\u003cp>“I personally believe that was performed about the river,” Reinstein speculated.\u003c/p>\n\u003cp>Though gays and lesbians came to the river for fun, Reinstein said the gay men she’s interviewed said there weren’t any historical queer communes in the Sonoma area. But she recently learned of one gay men’s retreat center, Wildwood Ranch in the Cazadero area, that was run collectively from the late 1970s. She noted many gay men also joined straight collectives. [aside postid='arts_13854644']\u003c/p>\n\u003cp>The Russian River has gone through economic highs and lows, and weathered the height of the AIDS epidemic. These days, the LGBTQ+ scene on the river isn’t as prolific as it was when it was considered the Fire Island of the West Coast. Reinstein attributes that, in part, to positive developments including gay marriage, antiretroviral therapy and greater queer acceptance in mainstream society. \u003c/p>\n\u003cp>“In the 1970s and ’80s, both lesbians and gays were working to create a culture and a community,” Reinstein said. “That was different. I don’t think that’s happening the same way.”\u003c/p>\n\u003cfigure id=\"attachment_13984178\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984178\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QueerWoods-GC-11_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QueerWoods-GC-11_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QueerWoods-GC-11_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QueerWoods-GC-11_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QueerWoods-GC-11_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nick Schwanz, center, hands Freddie, 6, a bouquet of dahlias, at Solar Punk Farms in Guerneville on Nov. 1, 2025. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet with LGBTQ+ rights under attack, the Russian River remains an important safe haven, and Solar Punk Farms and Shelterwood Collective are bringing the vibrancy back. “I’m really excited that it’s there,” Reinstein added.\u003c/p>\n\u003cp>Many queer people of past generations sought the woods as a place of escape, but Shelterwood’s Alexandre takes a different view. He said he and his friends are “not escaping anything,” but nurturing the queer cultural ecosystem while tending to the land. The goal is for both to thrive for generations to come.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We want to create safety for those communities who traditionally don’t get safe spaces,” Alexandre said, “and also acknowledge that all our futures are intertwined.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a certain kind of \u003ca href=\"https://www.kqed.org/science/1997477/fishnets-and-fossil-fuels-meet-3-bay-area-climate-conscious-drag-artists\">queer magic\u003c/a> that thrives along the Russian River.\u003c/p>\n\u003cp>For more than a century, queer people have sought refuge in rural Sonoma County, leaving the stress of city life for the peace — and parties — of the sprawling river valley and redwood forests. Artists, hippies, nude sun bathers, cruisers and even disco legends like \u003ca href=\"https://www.kqed.org/arts/13854644/how-the-world-caught-up-to-sylvester\">Sylvester\u003c/a> have all flocked there over the decades.\u003c/p>\n\u003cp>Now, two groups, \u003ca href=\"https://www.shelterwoodcollective.org/\">Shelterwood Collective\u003c/a> and \u003ca href=\"https://www.solarpunkfarms.com/\">Solar Punk Farms\u003c/a>, are actively calling queer people back to the land, and not only to party. They’re creating a different type of magic: Shelterwood is restoring acres of forest through Indigenous practices like controlled burns, and Solar Punk advocates for environmental policy and farms the land — all while making space for queer community-building, joy and self-expression.\u003c/p>\n\u003cp>“I’m not selling this as a panacea, but as one small piece of a larger puzzle of correcting the arc of history,” said Shelterwood co-founder Nikola Alexandre. “It matters that the last gas station before coming to Shelterwood and leaving is in Guerneville, which is maybe the gayest rural town in the U.S.”\u003c/p>\n\u003cfigure id=\"attachment_13984071\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984071\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-37-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-37-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-37-KQED-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-37-KQED-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-37-KQED-1536x1177.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nikola Alexandre, of Shelterwood Collective, poses for a portrait at the property in Cazadero on Nov. 1, 2025. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Caring for our elders’\u003c/h2>\n\u003cp>About half an hour northwest of Guerneville, Shelterwood is an oasis that centers queer, trans, Black, Indigenous and disabled people. The property was once a \u003ca href=\"https://www.pressdemocrat.com/2020/04/18/looking-back-on-the-cazadero-cult-camp-hundred-years-later/\">religious cult \u003c/a>and later a Christian camp. Since 2021, Shelterwood Collective has cared for its 900 acres of forest through stream restoration, forest thinning and prescribed burns.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The forested valley, surrounded by a ridge, is home to wild boars, foxes, deer, mountain lions and the occasional bear. The Kashia Band of Pomo Indians stewarded these lands for thousands of years. White settlers and the federal government forced them from their ancestral lands in the 1800s, which also eliminated their practice of \u003ca href=\"https://www.kqed.org/arts/13983729/good-fire-tending-native-lands-review-oakland-museum-california\">cultural burning\u003c/a>. In the mid-19th century, loggers turned the nearby town of Cazadero into a major timber hub. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Alexandre said that when Shelterwood purchased the land, it was overgrown due to poor management and needed room to breathe. With a five-year grant from Cal Fire, the group is physically thinning the forest and using prescribed fire to allow native species such as blue oak, sword fern and hummingbird sage to thrive once again.\u003c/p>\n\u003cp>“We’re not trying to micromanage a forest, we’re caring for our elders,” Alexandre said of large trees unscathed by fire during a prescribed burn in October.\u003c/p>\n\u003cp>Standing on a cascading hillside meadow, with billowing smoke around him, Alexandre said actively burning the crowded forest has a two-fold purpose: tending the land \u003ci>and\u003c/i> queer hearts.\u003c/p>\n\u003cp>“The mythology that we are not part of these ecosystems, or that the only thing that happens to Black folk in the woods is negative or harmful, is one that I sought to truly push back against,” Alexandre said.\u003c/p>\n\u003cfigure id=\"attachment_13984073\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984073\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-01-KQED-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-01-KQED-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-01-KQED-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-01-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-01-KQED-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Free Freddie performs during Shelterwood’s summer campout in July 2025. \u003ccite>(Courtesy of Brandon Simmoneau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Giving ‘queerness space to breathe’\u003c/h2>\n\u003cp>Shelterwood’s work isn’t just physical, it’s communal. The five people who live on the property, along with visiting friends and organizers, host weekend gatherings centered on queer folk.\u003c/p>\n\u003cp>Around Halloween, at a party called 900 Acres and a Ghoul, dozens of queer people dressed as sexy witches, a giant slice of pizza in a jock strap and horror movie characters like Casey Becker from \u003ci>Scream\u003c/i>. The group of mostly 20- and 30-somethings danced to techno under a canopy of branches, carved pumpkins, connected in cuddle puddles and hiked in the fog.\u003c/p>\n\u003cp>“We dance with our human and non-human kin for a couple of days, and that is the joy that fuels many of us,” Alexandre said.\u003c/p>\n\u003cp>Matt Wood made the two-and-a-half-hour trek from San Francisco. The 30-year-old said every time he visits, he feels a little bit more restored.\u003c/p>\n\u003cp>“I think it’s also healed my relationship with nature a lot,” Wood said. “I had to relearn what it means to hike or camp because I associated those with white, higher socioeconomic activities.”\u003c/p>\n\u003cp>Wood has also learned the healing nature of prescribed fire, and sees his experience at Shelterwood as parallel to burning off the hardness of city life.\u003c/p>\n\u003cfigure id=\"attachment_13984074\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984074\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-02-KQED-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-02-KQED-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-02-KQED-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-02-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-02-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-02-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251125_QUEERWOODS-02-KQED-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">DJ 80085 performs during Shelterwood’s summer campout in July 2025. \u003ccite>(Courtesy of Brandon Simmoneau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A good burn was something I never knew about, but this maintains the health of the forest,” Wood said. “I think that’s something that we can all kind of apply as well.”\u003c/p>\n\u003cp>For Brandon Jones, Shelterwood’s executive director, restoring the forest and holding space for queer people is about developing a sense of sanctuary. The sprawling property gives “queerness space to breathe,” Jones said. “There’s something radical about removing queerness from confinement and throwing it into the open space to frolic.”\u003c/p>\n\u003cp>To keep the magic intact, Jones is figuring out how to shift Shelterwood from relying on grants to a retreat model for events and weddings, with potential for a farm and restaurant. Jones said he’s exploring more reliable funding options, as grants and private funding become harder to acquire in the current political climate.\u003c/p>\n\u003cp>“Once you get through our gates, there is spaciousness,” Jones said. “That’s part of the magic.”\u003c/p>\n\u003cfigure id=\"attachment_13984064\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984064\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-8-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-8-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-8-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-8-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-8-KQED-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nick Schwanz trains a cucumber plant to grow upward at Solar Punk Farms in Guerneville on Nov. 1, 2025. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Planting the seeds of sustainability\u003c/h2>\n\u003cp>The Shelterwood Collective isn’t alone in its mission of centering queerness and climate resilience. About 20 miles away from Shelterwood, Nick Schwanz and Spencer Scott run Solar Punk Farms in Guerneville. It’s a working farm, a communal home they share with at least two others and a redwood forest.\u003c/p>\n\u003cp>Fed up with their jobs in health and tech in San Francisco, the couple wanted to live in a way that could make a tangible difference to the environment. At first, they dabbled in climate-related jobs. But they wanted to get their hands dirty, so they began looking for a piece of land. In 2020, they bought a 10-acre parcel in Guerneville with their savings.\u003c/p>\n\u003cp>“The queer history there was one of the big things that really drew us to the space,” Schwanz said.\u003c/p>\n\u003cp>The couple wants to help make the entire Russian River area resilient enough to weather future floods and fires. They see the Russian River’s queer history and the local climate movement as important factors in protecting the region.\u003c/p>\n\u003cp>“Queer people know that we have to protect each other,” Scott said. “No one’s coming to save us, we’ve got to do it ourselves.”\u003c/p>\n\u003cfigure id=\"attachment_13984065\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984065\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-9-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-9-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-9-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-9-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-9-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spencer Scott picks the last apples of the harvest at Solar Punk Farms in Guerneville on Nov. 1, 2025. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They grow squash, tomatoes and other produce, and host environmental salons, natural wine events and climate-themed drag shows.\u003c/p>\n\u003cp>“Our mission is to make the sustainability movement feel irresistible, not just essential or something that we \u003cem>should\u003c/em> do, but something that you really want to do because it’s fun, sexy and interesting,” Schwanz said. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The duo’s move to Guerneville isn’t just about harvesting vegetables and raising chickens. They want to “shift culture” by influencing local policy to better support the environment. Schwanz is the president of the Russian River Chamber of Commerce, and Scott is on the county’s Lower Russian River Municipal Advisory Council.\u003c/p>\n\u003cp>Their influence is starting to have an impact. Schwanz pushed the chamber to adopt a goal of making the area a regeneration hotspot, and next year it aims to co-host a countywide festival focused on river health.\u003c/p>\n\u003cp>“The goal is to take Guerneville’s super power of getting a ton of people here and having a great time and diverting that energy towards a climate goal,” Schwanz said. “The sense is that every year is worse than the last. Our near-term goal is to feel like every year’s better than the past.”\u003c/p>\n\u003cfigure id=\"attachment_13984062\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984062\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-4-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-4-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-4-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-4-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QUEERWOODS-GC-4-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chickens roam around Solar Punk Farms in Guerneville on Nov. 1, 2025. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schwanz and Scott are also friends with Alexandre from Shelterwood Collective and hope to learn from the group’s forest restoration efforts.\u003c/p>\n\u003cp>“We’re hoping to get some guidance on how to best do forest thinning, burn piles and controlled burns,” Scott said.\u003c/p>\n\u003cp>Alexandre believes the restoration work by Solar Punk Farms, albeit on a very different scale, is essential, and it’s even more vital that queer communities focused on climate remain undivided.\u003c/p>\n\u003cp>“It’s my hope that these kinds of communities, collectives and sub-regional groupings of folks who are in close relationship with this place will become more and more frequent,” Alexandre said. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>A long queer history\u003c/h2>\n\u003cp>Gay San Franciscans began flocking to the Russian River in the 1920s and never stopped. The area served as a vacation destination, with people taking ferries, trains and cars to its redwood-lined riverbanks.\u003c/p>\n\u003cp>“They wanted to get away from the stultifying rules about how you’re supposed to live your life, and your sexuality is part of that,” said Tina Dungan, who teaches a course on Sonoma County’s LGBTQ+ history at Santa Rosa Junior College. “It’s the beauty of being in the trees.”\u003c/p>\n\u003cp>Shad Reinstein, an independent researcher in LGBTQ+ history, described the Russian River of the 1960s–’80s as the West Coast’s Fire Island. Bars, restaurants and hotels catered to the queer community. Journalists at the time called the area “the New Gay Mecca” and “a resort town that welcomes gays.”\u003c/p>\n\u003cfigure id=\"attachment_13984176\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984176\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Sylvester.jpg\" alt=\"A vintage photo of a disco star performing in front of a crowd of young, gay fans.\" width=\"2000\" height=\"1317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Sylvester.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Sylvester-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Sylvester-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Sylvester-1536x1011.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sylvester performs at the The Woods Hexagon House in 1984. \u003ccite>(Courtesy of Loren Henry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She said so many gay men visited the area that she believes artists like the Weather Girls, who performed at a resort there, found an audience for their song “It’s Raining Men” among the throngs of shirtless men.\u003c/p>\n\u003cp>“I personally believe that was performed about the river,” Reinstein speculated.\u003c/p>\n\u003cp>Though gays and lesbians came to the river for fun, Reinstein said the gay men she’s interviewed said there weren’t any historical queer communes in the Sonoma area. But she recently learned of one gay men’s retreat center, Wildwood Ranch in the Cazadero area, that was run collectively from the late 1970s. She noted many gay men also joined straight collectives. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Russian River has gone through economic highs and lows, and weathered the height of the AIDS epidemic. These days, the LGBTQ+ scene on the river isn’t as prolific as it was when it was considered the Fire Island of the West Coast. Reinstein attributes that, in part, to positive developments including gay marriage, antiretroviral therapy and greater queer acceptance in mainstream society. \u003c/p>\n\u003cp>“In the 1970s and ’80s, both lesbians and gays were working to create a culture and a community,” Reinstein said. “That was different. I don’t think that’s happening the same way.”\u003c/p>\n\u003cfigure id=\"attachment_13984178\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984178\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QueerWoods-GC-11_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QueerWoods-GC-11_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QueerWoods-GC-11_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QueerWoods-GC-11_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/20251101_QueerWoods-GC-11_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nick Schwanz, center, hands Freddie, 6, a bouquet of dahlias, at Solar Punk Farms in Guerneville on Nov. 1, 2025. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet with LGBTQ+ rights under attack, the Russian River remains an important safe haven, and Solar Punk Farms and Shelterwood Collective are bringing the vibrancy back. “I’m really excited that it’s there,” Reinstein added.\u003c/p>\n\u003cp>Many queer people of past generations sought the woods as a place of escape, but Shelterwood’s Alexandre takes a different view. He said he and his friends are “not escaping anything,” but nurturing the queer cultural ecosystem while tending to the land. The goal is for both to thrive for generations to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We want to create safety for those communities who traditionally don’t get safe spaces,” Alexandre said, “and also acknowledge that all our futures are intertwined.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "last-seven-days-obsidienne-obsurd-oaklash-oakland",
"title": "Obsidienne Obsurd’s Otherworldly Drag Touches Down in Oakland for One Night",
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"headTitle": "Obsidienne Obsurd’s Otherworldly Drag Touches Down in Oakland for One Night | KQED",
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"content": "\u003cp>Imagine a high-fashion circus inside a galactic wormhole and you have a sense of \u003ca href=\"https://www.instagram.com/0b.w0rld/?hl=en\">Obsidienne Obsurd\u003c/a>’s drag style. The artist is otherworldly, meticulous and unafraid to go \u003cem>all\u003c/em> the way, even when it comes to exposing their most tender vulnerabilities or risking making a fool of themself.\u003c/p>\n\u003cp>On Dec. 5, Obsidienne will bring their most ambitious work yet to the 110-year-old Calvin Simmons Theatre inside Oakland’s Henry J. Kaiser Center for the Arts, \u003cem>\u003ca href=\"https://www.gofevo.com/event/Oaklash2\">The Last 7 Days of Obsidienne Obsurd\u003c/a>\u003c/em>. Produced by Oaklash, it’s a one-night-only production that combines lip syncing, theater and chamber music, including a newly commissioned piece by Paul Wiancko of \u003ca href=\"https://www.kqed.org/arts/tag/kronos-quartet\">Kronos Quartet\u003c/a>, which Obsidienne will perform on viola alongside their classical musician parents, Debra Fong and Christopher Constanza.\u003c/p>\n\u003cp>Elaborate costuming and surrealist stagecraft come together to tell Obsidienne’s story of accepting their trans identity, their struggles with mental illness and family secrets that have been kept in silence for generations.\u003c/p>\n\u003cp>“It’s a story of meandering, being lost, being found,” Obsidienne tells KQED during a recent interview. “Part of finding the self is reckoning with the ugly parts and turning that into something beautiful. Because you can’t take it away, you just have to accept it.”\u003c/p>\n\u003cfigure id=\"attachment_13984107\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984107\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-scaled.jpg\" alt='A drag artist plays a viola inside a bar with neon text behind them that says \"Hella Fine.\"' width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Obsidienne Obsurd performs at Oaklash 2025. \u003ccite>(Ian Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raised in the South Bay by a Chinese American violinist mother and Italian American cellist father, Obsidienne is a classically trained violist who performs with orchestras and ensembles across California. They first tried drag during the pandemic, when the art form went digital. Collectives like Media Meltdown were producing livestreamed shows that challenged performers to become video editors and special effects experts. Obsidienne was hooked after Media Meltdown invited them to perform in a Keanu Reeves-themed show, and soon they were driving to obscure locations with their COVID pod to film elaborate numbers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Everyone who was watching me was like, ‘Oh you’re weird. You’re a weirdo. We like it,’” Obsidienne says. “And that was really cool.”\u003c/p>\n\u003cp>Before long, Obsidienne honed their signature style of warped, black-and-white makeup; hand-sewn costumes that turned their body into horned and tentacled shapes; performance art-y choreo that sometimes includes hyperventilation and intense eye contact; and song selections that go far outside of the pop-diva canon. [aside postid='arts_13983871']\u003c/p>\n\u003cp>It flies in the face of long-held stereotypes about what drag can be. A lot of audiences “think that if you are not a cis boy, you should not be doing drag,” Obsidienne says.\u003c/p>\n\u003cp>Obsidienne gives themself permission to embrace being different, and invites audiences to do the same. Recently in West Hollywood’s Abbey, the gay bar that inspired Chappell Roan’s smash hit “Pink Pony Club,” instead of picking something by, say, Sabrina Carpenter or Lady Gaga, Obsidienne lip synced a song by 78-year-old avant-garde musician Laurie Anderson.\u003c/p>\n\u003cp>“I’m going to make you see me, so there’s this sort of delusion that turns into sincerity,” Obsidienne says. “The suspension of disbelief. I try to project a very confident persona that is a projection of all the things in me that scare me about myself, basically.”\u003c/p>\n\u003cfigure id=\"attachment_13984109\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra.png\" alt=\"A drag artist in an orange and red feathery outfit poses with another drag artist wearing black-and-white abstract designs. \" width=\"1200\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra-768x511.png 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Oaklash co-founder Mama Celeste with Obsidienne Obsurd. \u003ccite>(Dominic Saavedra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Obsidienne has found a supportive home at \u003ca href=\"https://www.kqed.org/arts/tag/oaklash\">Oaklash\u003c/a>, a drag platform that loudly and proudly champions gender diversity, accessibility and racial justice. Each May, Oaklash produces a festival with multiple stages and over 60 local and touring performers. And even after all that, co-founder Mama Celeste says \u003cem>The Last 7 Days of Obsidienne Obsurd\u003c/em> is their most challenging project yet.\u003c/p>\n\u003cp>“It’s going to be silly and macabre and loud and colorful and bigger than you can even imagine,” she wrote in a recent email blast, inviting Oaklash fans to dress to the nines for the red carpet outside the show. [aside postid='arts_13983135']\u003c/p>\n\u003cp>\u003cem>The Last 7 Days of Obsidienne Obsurd\u003c/em> features local drag luminaries like Lisa Frankenstein, co-host of the popular party Princess at Oasis; Sassi Fran, a dancer, choreographer and member of the all-Filipino drag group FiliPINX; and Obsidienne’s drag children Lola Ren and Cult Baby. Music in the show pulls from a huge variety of references, including David Bowie, contemporary composers Chen Yi and Kaija Saariaho and even the 12th-century composer, mystic and proto-feminist \u003ca href=\"https://www.bpl.org/blogs/post/hildegard-von-bingen/\">Hildegard Von Bingen\u003c/a>.\u003c/p>\n\u003cp>“You can make noise during this performance. You can clap between movements, you don’t have to sit still like a statue,” says Obsidienne. “I think it’s really cool to be able to highlight through this project that classical music is not one thing, it is actually this whole kaleidoscope of things.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.oaklash.com/7days\">The Last 7 Days of Obsidienne Obsurd\u003c/a>’ takes place at Henry J. Kaiser Center for the Arts (10 10th Street, Oakland) on Dec. 5 at 7 p.m.\u003c/em>\u003c/p>\n\n",
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"title": "Obsidienne Obsurd’s Otherworldly Drag Touches Down in Oakland | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine a high-fashion circus inside a galactic wormhole and you have a sense of \u003ca href=\"https://www.instagram.com/0b.w0rld/?hl=en\">Obsidienne Obsurd\u003c/a>’s drag style. The artist is otherworldly, meticulous and unafraid to go \u003cem>all\u003c/em> the way, even when it comes to exposing their most tender vulnerabilities or risking making a fool of themself.\u003c/p>\n\u003cp>On Dec. 5, Obsidienne will bring their most ambitious work yet to the 110-year-old Calvin Simmons Theatre inside Oakland’s Henry J. Kaiser Center for the Arts, \u003cem>\u003ca href=\"https://www.gofevo.com/event/Oaklash2\">The Last 7 Days of Obsidienne Obsurd\u003c/a>\u003c/em>. Produced by Oaklash, it’s a one-night-only production that combines lip syncing, theater and chamber music, including a newly commissioned piece by Paul Wiancko of \u003ca href=\"https://www.kqed.org/arts/tag/kronos-quartet\">Kronos Quartet\u003c/a>, which Obsidienne will perform on viola alongside their classical musician parents, Debra Fong and Christopher Constanza.\u003c/p>\n\u003cp>Elaborate costuming and surrealist stagecraft come together to tell Obsidienne’s story of accepting their trans identity, their struggles with mental illness and family secrets that have been kept in silence for generations.\u003c/p>\n\u003cp>“It’s a story of meandering, being lost, being found,” Obsidienne tells KQED during a recent interview. “Part of finding the self is reckoning with the ugly parts and turning that into something beautiful. Because you can’t take it away, you just have to accept it.”\u003c/p>\n\u003cfigure id=\"attachment_13984107\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984107\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-scaled.jpg\" alt='A drag artist plays a viola inside a bar with neon text behind them that says \"Hella Fine.\"' width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Obsidienne Obsurd performs at Oaklash 2025. \u003ccite>(Ian Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raised in the South Bay by a Chinese American violinist mother and Italian American cellist father, Obsidienne is a classically trained violist who performs with orchestras and ensembles across California. They first tried drag during the pandemic, when the art form went digital. Collectives like Media Meltdown were producing livestreamed shows that challenged performers to become video editors and special effects experts. Obsidienne was hooked after Media Meltdown invited them to perform in a Keanu Reeves-themed show, and soon they were driving to obscure locations with their COVID pod to film elaborate numbers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everyone who was watching me was like, ‘Oh you’re weird. You’re a weirdo. We like it,’” Obsidienne says. “And that was really cool.”\u003c/p>\n\u003cp>Before long, Obsidienne honed their signature style of warped, black-and-white makeup; hand-sewn costumes that turned their body into horned and tentacled shapes; performance art-y choreo that sometimes includes hyperventilation and intense eye contact; and song selections that go far outside of the pop-diva canon. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It flies in the face of long-held stereotypes about what drag can be. A lot of audiences “think that if you are not a cis boy, you should not be doing drag,” Obsidienne says.\u003c/p>\n\u003cp>Obsidienne gives themself permission to embrace being different, and invites audiences to do the same. Recently in West Hollywood’s Abbey, the gay bar that inspired Chappell Roan’s smash hit “Pink Pony Club,” instead of picking something by, say, Sabrina Carpenter or Lady Gaga, Obsidienne lip synced a song by 78-year-old avant-garde musician Laurie Anderson.\u003c/p>\n\u003cp>“I’m going to make you see me, so there’s this sort of delusion that turns into sincerity,” Obsidienne says. “The suspension of disbelief. I try to project a very confident persona that is a projection of all the things in me that scare me about myself, basically.”\u003c/p>\n\u003cfigure id=\"attachment_13984109\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra.png\" alt=\"A drag artist in an orange and red feathery outfit poses with another drag artist wearing black-and-white abstract designs. \" width=\"1200\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra-768x511.png 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Oaklash co-founder Mama Celeste with Obsidienne Obsurd. \u003ccite>(Dominic Saavedra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Obsidienne has found a supportive home at \u003ca href=\"https://www.kqed.org/arts/tag/oaklash\">Oaklash\u003c/a>, a drag platform that loudly and proudly champions gender diversity, accessibility and racial justice. Each May, Oaklash produces a festival with multiple stages and over 60 local and touring performers. And even after all that, co-founder Mama Celeste says \u003cem>The Last 7 Days of Obsidienne Obsurd\u003c/em> is their most challenging project yet.\u003c/p>\n\u003cp>“It’s going to be silly and macabre and loud and colorful and bigger than you can even imagine,” she wrote in a recent email blast, inviting Oaklash fans to dress to the nines for the red carpet outside the show. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Last 7 Days of Obsidienne Obsurd\u003c/em> features local drag luminaries like Lisa Frankenstein, co-host of the popular party Princess at Oasis; Sassi Fran, a dancer, choreographer and member of the all-Filipino drag group FiliPINX; and Obsidienne’s drag children Lola Ren and Cult Baby. Music in the show pulls from a huge variety of references, including David Bowie, contemporary composers Chen Yi and Kaija Saariaho and even the 12th-century composer, mystic and proto-feminist \u003ca href=\"https://www.bpl.org/blogs/post/hildegard-von-bingen/\">Hildegard Von Bingen\u003c/a>.\u003c/p>\n\u003cp>“You can make noise during this performance. You can clap between movements, you don’t have to sit still like a statue,” says Obsidienne. “I think it’s really cool to be able to highlight through this project that classical music is not one thing, it is actually this whole kaleidoscope of things.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.oaklash.com/7days\">The Last 7 Days of Obsidienne Obsurd\u003c/a>’ takes place at Henry J. Kaiser Center for the Arts (10 10th Street, Oakland) on Dec. 5 at 7 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "glbt-historical-society-transgender-people-of-color-louise-lawrence-archive",
"title": "A New San Francisco Exhibit Celebrates Gender Rebels Across History",
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"headTitle": "A New San Francisco Exhibit Celebrates Gender Rebels Across History | KQED",
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"content": "\u003cfigure id=\"attachment_13983958\" class=\"wp-caption aligncenter\" style=\"max-width: 1601px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983958\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar.png\" alt=\"A coiffed and made-up gender nonconforming person sitting elegantly in a doorway, dressed in silky blouse, pants and high heels.\" width=\"1601\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar.png 1601w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar-160x200.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar-768x959.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar-1230x1536.png 1230w\" sizes=\"auto, (max-width: 1601px) 100vw, 1601px\">\u003cfigcaption class=\"wp-caption-text\">Photograph of LiKar in doorway. Photographer unknown. Li-Kar was a renowned performer and artist at Finocchio’s. \u003ccite>(Courtesy of the Louise Lawrence Transgender Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oddly, one of the most revealing things in the GLBT Historical Society’s new exhibit is an overwrought denunciation of Black drag queens dating from all the way back in 1893. One Dr. Charles H. Hughes of St. Louis (clearly incensed) had his note published by a medical journal of the era.\u003c/p>\n\u003cp>It states, in part:\u003c/p>\n\u003cblockquote>\u003cp>I am credibly informed that there is, in the city of Washington, D.C., an annual convocation of negro men called the drag dance, which is an orgy of lascivious debauchery beyond pen power of description.\u003c/p>\u003c/blockquote>\n\u003cp>(Imagine hearing the phrase “orgy of lascivious debauchery” and thinking that was a bad thing!)\u003c/p>\n\u003cp>Dr. Hughes’ quote is part of the introduction to \u003cem>I Live the Life I Love Because I Love the Life I Live: A Celebration of Trans People of Color, \u003c/em>a collection of photos and ephemera honoring gender nonconforming people of color from recent history. Curated by \u003ca href=\"https://www.kqed.org/arts/13906221/louise-lawrence-transgender-archive-vallejo-history\">Ms. Bob Davis\u003c/a> of the \u003ca href=\"https://www.kqed.org/arts/13870056/the-transgender-community-builder-who-educated-doctors-including-kinsey\">Louise Lawrence\u003c/a> Transgender Archive, the exhibit includes Bay Area queer and trans folks (including legendary nightclub dancers, \u003ca href=\"https://www.kqed.org/arts/13959726/vicki-starr-transgender-topless-dancer-san-francisco-lgbtq-prison-reform\">Vicki Starr\u003c/a> and Li-Kar), alongside their spiritual siblings from around the world.\u003c/p>\n\u003cp>While fairly hodgepodge by nature — there is no linear throughline or singular geographical focus — \u003cem>I Live the Life I Love\u003c/em> does successfully provide a number of fascinating starting points for future research.\u003c/p>\n\u003cfigure id=\"attachment_13983960\" class=\"wp-caption aligncenter\" style=\"max-width: 1286px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983960\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king.png\" alt=\"A woman dressed in a man's suit, hair slicked back in a masculine style.\" width=\"1286\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king.png 1286w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king-160x249.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king-768x1194.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king-988x1536.png 988w\" sizes=\"auto, (max-width: 1286px) 100vw, 1286px\">\u003cfigcaption class=\"wp-caption-text\">Photograph of a gender nonconforming person, as seen in ‘I Live the Life I Love Because I Love the Life I Live: A Celebration of Trans People of Color.’ \u003ccite>(Courtesy of the Louise Lawrence Transgender Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition introduces the likes of the Takarazuka Girls, an all-female revue from Japan who performed as all genders at the \u003ca href=\"https://www.kqed.org/news/11790693/magic-city-and-the-making-of-treasure-island\">1939 Golden Gate International Exposition\u003c/a>. There’s also Felicia Elizondo, a trans woman who attempted to suppress her gender identity by enlisting in the Vietnam War, only to transition in 1972 and become a vocal LGBTQ+ campaigner. The show also gives a brief overview of the charitable efforts of Brenda Lee, who turned her São Paulo house into a group home for trans women and people living with HIV and AIDS in the ’80s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taking us back further in time are Victorian dancers from a show called \u003cem>Les Joyeux Nègres\u003c/em> (\u003cem>The Merry Negroes\u003c/em>). Duos included Charles Gregory and Jack Brown, who danced the “cakewalk” wearing Civil War-era attire — Brown in a multi-tiered dress, Gregory in a colorful suit. In the same troupe, two women utilized drag as “Mr. and Mrs. Elks.”\u003c/p>\n\u003cp>Rounding things out at the GLBT Historical Society is a corner of celebratory show posters that highlight local relevant events from the ’70s and ’80s — the crowning glory of which is a sequined dress that belonged to Sylvester.\u003c/p>\n\u003cp>A comprehensive overview of the history of trans and gender nonconforming people of color, this is not. Neither is it particularly focused on any one subculture related to the community. But if you treat \u003cem>I Live the Life I Love\u003c/em> as a mini buffet of fascinating moments from LGBTQ+ history, you’ll find a smattering of very tasty morsels.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.glbthistory.org/exhibitions\">I Live the Life I Love Because I Love the Life I Live: A Celebration of Trans People of Color\u003c/a>’ is on view through mid-February 2026, at the GLBT Historical Society Museum (4127 18th St., San Francisco).\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13983958\" class=\"wp-caption aligncenter\" style=\"max-width: 1601px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983958\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar.png\" alt=\"A coiffed and made-up gender nonconforming person sitting elegantly in a doorway, dressed in silky blouse, pants and high heels.\" width=\"1601\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar.png 1601w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar-160x200.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar-768x959.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar-1230x1536.png 1230w\" sizes=\"auto, (max-width: 1601px) 100vw, 1601px\">\u003cfigcaption class=\"wp-caption-text\">Photograph of LiKar in doorway. Photographer unknown. Li-Kar was a renowned performer and artist at Finocchio’s. \u003ccite>(Courtesy of the Louise Lawrence Transgender Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oddly, one of the most revealing things in the GLBT Historical Society’s new exhibit is an overwrought denunciation of Black drag queens dating from all the way back in 1893. One Dr. Charles H. Hughes of St. Louis (clearly incensed) had his note published by a medical journal of the era.\u003c/p>\n\u003cp>It states, in part:\u003c/p>\n\u003cblockquote>\u003cp>I am credibly informed that there is, in the city of Washington, D.C., an annual convocation of negro men called the drag dance, which is an orgy of lascivious debauchery beyond pen power of description.\u003c/p>\u003c/blockquote>\n\u003cp>(Imagine hearing the phrase “orgy of lascivious debauchery” and thinking that was a bad thing!)\u003c/p>\n\u003cp>Dr. Hughes’ quote is part of the introduction to \u003cem>I Live the Life I Love Because I Love the Life I Live: A Celebration of Trans People of Color, \u003c/em>a collection of photos and ephemera honoring gender nonconforming people of color from recent history. Curated by \u003ca href=\"https://www.kqed.org/arts/13906221/louise-lawrence-transgender-archive-vallejo-history\">Ms. Bob Davis\u003c/a> of the \u003ca href=\"https://www.kqed.org/arts/13870056/the-transgender-community-builder-who-educated-doctors-including-kinsey\">Louise Lawrence\u003c/a> Transgender Archive, the exhibit includes Bay Area queer and trans folks (including legendary nightclub dancers, \u003ca href=\"https://www.kqed.org/arts/13959726/vicki-starr-transgender-topless-dancer-san-francisco-lgbtq-prison-reform\">Vicki Starr\u003c/a> and Li-Kar), alongside their spiritual siblings from around the world.\u003c/p>\n\u003cp>While fairly hodgepodge by nature — there is no linear throughline or singular geographical focus — \u003cem>I Live the Life I Love\u003c/em> does successfully provide a number of fascinating starting points for future research.\u003c/p>\n\u003cfigure id=\"attachment_13983960\" class=\"wp-caption aligncenter\" style=\"max-width: 1286px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983960\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king.png\" alt=\"A woman dressed in a man's suit, hair slicked back in a masculine style.\" width=\"1286\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king.png 1286w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king-160x249.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king-768x1194.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king-988x1536.png 988w\" sizes=\"auto, (max-width: 1286px) 100vw, 1286px\">\u003cfigcaption class=\"wp-caption-text\">Photograph of a gender nonconforming person, as seen in ‘I Live the Life I Love Because I Love the Life I Live: A Celebration of Trans People of Color.’ \u003ccite>(Courtesy of the Louise Lawrence Transgender Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition introduces the likes of the Takarazuka Girls, an all-female revue from Japan who performed as all genders at the \u003ca href=\"https://www.kqed.org/news/11790693/magic-city-and-the-making-of-treasure-island\">1939 Golden Gate International Exposition\u003c/a>. There’s also Felicia Elizondo, a trans woman who attempted to suppress her gender identity by enlisting in the Vietnam War, only to transition in 1972 and become a vocal LGBTQ+ campaigner. The show also gives a brief overview of the charitable efforts of Brenda Lee, who turned her São Paulo house into a group home for trans women and people living with HIV and AIDS in the ’80s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taking us back further in time are Victorian dancers from a show called \u003cem>Les Joyeux Nègres\u003c/em> (\u003cem>The Merry Negroes\u003c/em>). Duos included Charles Gregory and Jack Brown, who danced the “cakewalk” wearing Civil War-era attire — Brown in a multi-tiered dress, Gregory in a colorful suit. In the same troupe, two women utilized drag as “Mr. and Mrs. Elks.”\u003c/p>\n\u003cp>Rounding things out at the GLBT Historical Society is a corner of celebratory show posters that highlight local relevant events from the ’70s and ’80s — the crowning glory of which is a sequined dress that belonged to Sylvester.\u003c/p>\n\u003cp>A comprehensive overview of the history of trans and gender nonconforming people of color, this is not. Neither is it particularly focused on any one subculture related to the community. But if you treat \u003cem>I Live the Life I Love\u003c/em> as a mini buffet of fascinating moments from LGBTQ+ history, you’ll find a smattering of very tasty morsels.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.glbthistory.org/exhibitions\">I Live the Life I Love Because I Love the Life I Live: A Celebration of Trans People of Color\u003c/a>’ is on view through mid-February 2026, at the GLBT Historical Society Museum (4127 18th St., San Francisco).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the months since it opened, Rikki’s, the \u003ca href=\"https://www.kqed.org/arts/13977457/rikkis-first-womens-sports-bar-bay-area-open-castro-sf-valkyries\">Bay Area’s first sports bar dedicated to women’s athletics\u003c/a>, has hosted all kinds of queer-friendly, women-centric community events. Joyous \u003ca href=\"https://www.kqed.org/arts/13978009/2025-san-francisco-pride-party-guide-lgbtq-queer-events\">Pride Week\u003c/a> celebrations. Moving reunions of friends honoring a loved one who recently passed. And, of course, rollicking Golden State Valkyries watch parties.\u003c/p>\n\u003cp>And now, just ahead of Thanksgiving, another first: On Sunday, Nov. 23, the Castro District bar will host what might be San Francisco’s first ever \u003ca href=\"https://www.zeffy.com/en-US/ticketing/sf-lesbian-pie-eating-contest\">lesbian pie-eating contest\u003c/a> (yes, you read that correctly) — an epically sloppy, no-hands, no-forks battle for bragging rights and a $100 cash prize.\u003c/p>\n\u003cp>The event is the brainchild of \u003ci>Curve \u003c/i>magazine founder Franco Stevens, whose nonprofit \u003ca href=\"https://thecurvefoundation.org/\">Curve Foundation\u003c/a> now manages the legendary San Francisco–based lesbian magazine’s 30-plus-year archives. Reached by phone, Stevens explains that she’s always hosted a “Friday Pie Day” on the day after Thanksgiving as a way for friends and family to share all of the leftover pie they accumulate during the holiday. Often, someone would bring up the idea of having a pie-eating contest. “God, it kind of is a funny lesbian joke,” Stevens remembers thinking, “so I think I’m going to just do it.”\u003c/p>\n\u003cp>To put it plainly: “Oftentimes a woman’s private areas are called ‘pies,’” Stevens explains. “So the lesbian pie eating contest is a pun on that.”\u003c/p>\n\u003cp>Stevens, who lives in Oakland, says lesbian pie eating contests aren’t necessarily a long-held tradition in the LGBTQ+ community, at least that she’s aware of. But in the past couple of years, she has started seeing them pop up as tongue-in-cheek one-off events at queer bars in places like Portland and Brooklyn. One recent edition even inspired an \u003ca href=\"https://www.instagram.com/reel/DQ8LAZeDC09/\">extended riff by the comedian Jenny Hagel\u003c/a> on \u003ci>Late Night With Seth Meyers\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A lesbian pie-eating contest was held in Brooklyn last month … and it’s still happening because every contestant is taking their time and doing it right,” Hagel says in the set. “It’s like a straight pie-eating contest except the pie enjoys it.”\u003c/p>\n\u003cp>The jokes, of course, write themselves. But Stevens stresses that while the contest itself will be lighthearted and fun, it will also benefit a good cause. Her main goal is to promote next year’s Lesbian Visibility Week (April 21–26, 2026), whose festivities in the \u003ca href=\"https://www.lesbianvisibilityweekusa.com/\">U.S\u003c/a>. and Canada are all organized by the Curve Foundation. Launched in 2020, the annual event’s stated mission is to “shine a light on the experiences, perspectives and needs of LGBTQ+ women and nonbinary people.” In San Francisco, that has included a flag-raising ceremony, film screenings and events focused on celebrating local lesbian history.\u003c/p>\n\u003cp>Funds raised from the pie-eating contest, specifically, will help pay for permitting fees to install Lesbian Visibility Week banners in the Castro District for the entire month of April.\u003c/p>\n\u003cfigure id=\"attachment_13983945\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983945\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rikkis-soccer.jpg\" alt=\"A soccer match being shown on the TVs in a crowded sports bar.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rikkis-soccer.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rikkis-soccer-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rikkis-soccer-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rikkis-soccer-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Open since June 2025, Rikki’s regularly hosts queer-friendly, women-centric events. \u003ccite>(Courtesy of Rikki's)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The contest itself won’t be a free-for-all either. While Rikki’s co-owner Danielle Thoe won’t be competing herself, she says she’s been asked to be one of the judges: “I said, ‘I don’t know what that means, but sure.’” Mainly, it seems, she’ll be tasked with making sure that no one cheats — that every last inch of those pies get eaten. The “pie athletes” who pay the $5 entry fee (plus an additional $10 for the pie, though they can also opt to bring their own) will be judged on speed and thoroughness. Whoever finishes first will be declared the winner.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13977457,arts_13980855']\u003c/span>\u003c/span>As Stevens puts it, “No forks. No hands. No shame. Just get your face in there, and whoever can finish the pie fastest is going to get the $100.”\u003c/p>\n\u003cp>The competition will, in other words, require real speed-eating skills — though Stevens expects to have participants of all stripes. “We could have a couple of pie lickers out there that are just in it for the performance art,” she adds. “We’re totally fine with that.”\u003c/p>\n\u003cp>To help make the pie-munching bonanza an even bigger success, Stevens says she’s hoping a couple of local businesses might step up at the eleventh hour — either to donate (or pay for) the 20 9-inch pumpkin pies that the contestants will be eating, or to put up the money for the cash prize.\u003c/p>\n\u003cp>And if all goes well, Stevens would like the lesbian pie eating contest to be more than a one-night stand. Instead, she hopes it will be a new San Francisco tradition that continues for years to come.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://www.zeffy.com/en-US/ticketing/sf-lesbian-pie-eating-contest\">\u003ci>Lesbian Pie-Eating Contest\u003c/i>\u003c/a>\u003ci> will take place at 1 p.m. on Sunday, Nov. 23, at \u003c/i>\u003ca href=\"https://www.rikkisbarsf.com/\">\u003ci>Rikki’s\u003c/i>\u003c/a>\u003ci> (2223 Market St., San Francisco). The entry fee is $5, plus $10 for a pie (for contestants who don’t bring their own). Spectator tickets are free.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the months since it opened, Rikki’s, the \u003ca href=\"https://www.kqed.org/arts/13977457/rikkis-first-womens-sports-bar-bay-area-open-castro-sf-valkyries\">Bay Area’s first sports bar dedicated to women’s athletics\u003c/a>, has hosted all kinds of queer-friendly, women-centric community events. Joyous \u003ca href=\"https://www.kqed.org/arts/13978009/2025-san-francisco-pride-party-guide-lgbtq-queer-events\">Pride Week\u003c/a> celebrations. Moving reunions of friends honoring a loved one who recently passed. And, of course, rollicking Golden State Valkyries watch parties.\u003c/p>\n\u003cp>And now, just ahead of Thanksgiving, another first: On Sunday, Nov. 23, the Castro District bar will host what might be San Francisco’s first ever \u003ca href=\"https://www.zeffy.com/en-US/ticketing/sf-lesbian-pie-eating-contest\">lesbian pie-eating contest\u003c/a> (yes, you read that correctly) — an epically sloppy, no-hands, no-forks battle for bragging rights and a $100 cash prize.\u003c/p>\n\u003cp>The event is the brainchild of \u003ci>Curve \u003c/i>magazine founder Franco Stevens, whose nonprofit \u003ca href=\"https://thecurvefoundation.org/\">Curve Foundation\u003c/a> now manages the legendary San Francisco–based lesbian magazine’s 30-plus-year archives. Reached by phone, Stevens explains that she’s always hosted a “Friday Pie Day” on the day after Thanksgiving as a way for friends and family to share all of the leftover pie they accumulate during the holiday. Often, someone would bring up the idea of having a pie-eating contest. “God, it kind of is a funny lesbian joke,” Stevens remembers thinking, “so I think I’m going to just do it.”\u003c/p>\n\u003cp>To put it plainly: “Oftentimes a woman’s private areas are called ‘pies,’” Stevens explains. “So the lesbian pie eating contest is a pun on that.”\u003c/p>\n\u003cp>Stevens, who lives in Oakland, says lesbian pie eating contests aren’t necessarily a long-held tradition in the LGBTQ+ community, at least that she’s aware of. But in the past couple of years, she has started seeing them pop up as tongue-in-cheek one-off events at queer bars in places like Portland and Brooklyn. One recent edition even inspired an \u003ca href=\"https://www.instagram.com/reel/DQ8LAZeDC09/\">extended riff by the comedian Jenny Hagel\u003c/a> on \u003ci>Late Night With Seth Meyers\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A lesbian pie-eating contest was held in Brooklyn last month … and it’s still happening because every contestant is taking their time and doing it right,” Hagel says in the set. “It’s like a straight pie-eating contest except the pie enjoys it.”\u003c/p>\n\u003cp>The jokes, of course, write themselves. But Stevens stresses that while the contest itself will be lighthearted and fun, it will also benefit a good cause. Her main goal is to promote next year’s Lesbian Visibility Week (April 21–26, 2026), whose festivities in the \u003ca href=\"https://www.lesbianvisibilityweekusa.com/\">U.S\u003c/a>. and Canada are all organized by the Curve Foundation. Launched in 2020, the annual event’s stated mission is to “shine a light on the experiences, perspectives and needs of LGBTQ+ women and nonbinary people.” In San Francisco, that has included a flag-raising ceremony, film screenings and events focused on celebrating local lesbian history.\u003c/p>\n\u003cp>Funds raised from the pie-eating contest, specifically, will help pay for permitting fees to install Lesbian Visibility Week banners in the Castro District for the entire month of April.\u003c/p>\n\u003cfigure id=\"attachment_13983945\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983945\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rikkis-soccer.jpg\" alt=\"A soccer match being shown on the TVs in a crowded sports bar.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rikkis-soccer.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rikkis-soccer-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rikkis-soccer-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rikkis-soccer-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Open since June 2025, Rikki’s regularly hosts queer-friendly, women-centric events. \u003ccite>(Courtesy of Rikki's)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The contest itself won’t be a free-for-all either. While Rikki’s co-owner Danielle Thoe won’t be competing herself, she says she’s been asked to be one of the judges: “I said, ‘I don’t know what that means, but sure.’” Mainly, it seems, she’ll be tasked with making sure that no one cheats — that every last inch of those pies get eaten. The “pie athletes” who pay the $5 entry fee (plus an additional $10 for the pie, though they can also opt to bring their own) will be judged on speed and thoroughness. Whoever finishes first will be declared the winner.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>As Stevens puts it, “No forks. No hands. No shame. Just get your face in there, and whoever can finish the pie fastest is going to get the $100.”\u003c/p>\n\u003cp>The competition will, in other words, require real speed-eating skills — though Stevens expects to have participants of all stripes. “We could have a couple of pie lickers out there that are just in it for the performance art,” she adds. “We’re totally fine with that.”\u003c/p>\n\u003cp>To help make the pie-munching bonanza an even bigger success, Stevens says she’s hoping a couple of local businesses might step up at the eleventh hour — either to donate (or pay for) the 20 9-inch pumpkin pies that the contestants will be eating, or to put up the money for the cash prize.\u003c/p>\n\u003cp>And if all goes well, Stevens would like the lesbian pie eating contest to be more than a one-night stand. Instead, she hopes it will be a new San Francisco tradition that continues for years to come.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://www.zeffy.com/en-US/ticketing/sf-lesbian-pie-eating-contest\">\u003ci>Lesbian Pie-Eating Contest\u003c/i>\u003c/a>\u003ci> will take place at 1 p.m. on Sunday, Nov. 23, at \u003c/i>\u003ca href=\"https://www.rikkisbarsf.com/\">\u003ci>Rikki’s\u003c/i>\u003c/a>\u003ci> (2223 Market St., San Francisco). The entry fee is $5, plus $10 for a pie (for contestants who don’t bring their own). Spectator tickets are free.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>TV shows like \u003cem>Abbott Elementary\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13974322/hacks-season-4-review-jean-smart-hannah-einbinder-chemistry\">\u003cem>Hacks\u003c/em>\u003c/a>, \u003cem>Heartstopper\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13974608/the-last-of-us-season-2-review-max-pedro-pascal-bella-ramsey\">\u003cem>The Last of Us\u003c/em>\u003c/a> and \u003cem>Yellowjackets\u003c/em> helped increase the ranks of \u003ca href=\"https://www.kqed.org/arts/tag/lgbtq\">LGBTQ+\u003c/a> characters on prime time by 4% over the previous season, according to a new study by the advocacy group GLAAD.\u003c/p>\n\u003cp>This year’s “Where We Are on TV” study, released Thursday, counted 489 LGBTQ+ characters across scripted prime-time broadcast, cable and streaming shows — up 21 additional characters. It marks a boost after two years of decline, but remains far below the 2021-2022 record high of 637 characters.\u003c/p>\n\u003cp>[aside postid='arts_13983377']Sarah Kate Ellis, president and CEO of the group, warned that those numbers could still decrease soon: More than 200 of the LGBTQ+ characters counted this year — in shows like \u003cem>Heartstopper\u003c/em>, \u003cem>Harlem\u003c/em> and \u003cem>Elite\u003c/em> — will not be returning due to a flurry of series cancellations, endings or because they were limited series.\u003c/p>\n\u003cp>“Storytelling brings us together and this current cultural and political climate calls on creatives and executives to double down on fair and accurate stories of LGBTQ people,” Ellis writes in the report.\u003c/p>\n\u003cp>GLAAD added that the number of transgender characters on TV has slightly increased from last year to reach 33 — 24 trans women, seven trans men, and two nonbinary characters — but only four trans characters appear on series that have been officially renewed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The report is the 20th edition of the annual tracking by GLAAD and charts a remarkable leap from just 47 LGBTQ+ characters in the first study. It arrives as President Donald Trump has targeted transgender and nonbinary people with a series of executive orders — including one declaring the existence of two unchangeable sexes — stripping government websites of “gender ideology” an reinstituting a ban on transgender service members in the military.\u003c/p>\n\u003cp>A recent Gallup poll found 9.3% of U.S. adults identified as lesbian, gay, bisexual, transgender or something other than straight or heterosexual. The percentage has more than doubled since Gallup first measured LGBTQ+ identification in 2012.\u003c/p>\n\u003cfigure id=\"attachment_13983506\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/four-seasons.png\" alt=\"A Black man and a dark-skinned white man with a beard recline in bed together peacefully. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/four-seasons.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/four-seasons-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/four-seasons-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/four-seasons-1536x1024.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Colman Domingo and Marco Calvani in a scene from ‘The Four Seasons.’ \u003ccite>(Jon Pack/Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The GLAAD study found that representation on broadcast and cable have continually declined, while streaming programming saw an increase of LGBTQ+ characters.\u003c/p>\n\u003cp>ABC last season had the largest percentage of network LGBTQ+ series regulars — with 12.9% — while Netflix had the most LGBTQ+ characters on streaming, with 177. It found that the eight major streamers added 45 characters from the 327 in the previous period.\u003c/p>\n\u003cp>GLAAD noted LGBTQ+ characters in such network shows as NBC’s \u003cem>Brilliant Minds\u003c/em>, which has a gay lead, CBS dramas \u003cem>Matlock\u003c/em> and \u003cem>Watson\u003c/em>, both of which feature supporting queer women, and ensemble characters on comedies like Fox’s \u003cem>Going Dutch\u003c/em> and NBC’s \u003cem>St. Denis Medical\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13982390']On streaming, GLAAD cited Netflix’s \u003cem>The Four Seasons\u003c/em>, \u003cem>Arcane\u003c/em> and \u003cem>Kaos\u003c/em>, and Amazon’s \u003cem>Clean Slate\u003c/em>, \u003cem>Harlem\u003c/em> and \u003cem>The Wheel of Time\u003c/em>. Hulu, meanwhile, had \u003cem>Mid-Century Modern\u003c/em>, \u003cem>Big Boys\u003c/em> and \u003cem>Wreck\u003c/em>.\u003c/p>\n\u003cp>The study found that the percentage of characters of color slightly increased up to 51% of all LGBTQ+ characters counted, and, for the second year in a row, only one LGBTQ+ character was depicted as living with HIV — but that character, on HBO Max’s \u003cem>Cris Miró\u003c/em>, won’t be returning.\u003c/p>\n\u003cp>In their 2019-20 study GLAAD had asked the industry to reach 20% representation of regularly seen LGBTQ+ characters on all three platforms by 2025, and to ensure that half of LGBTQ+ characters on every TV platform were people of color within the next two years. This year’s report does not include a challenge tied to a specific percentage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“As this study and the TV industry have evolved, so too have our benchmarks,” GLAAD said. “There is a need for urgent action and improvement today across all platforms with this newest study finding a significant portion of the LGBTQ characters counted will not return.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>TV shows like \u003cem>Abbott Elementary\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13974322/hacks-season-4-review-jean-smart-hannah-einbinder-chemistry\">\u003cem>Hacks\u003c/em>\u003c/a>, \u003cem>Heartstopper\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13974608/the-last-of-us-season-2-review-max-pedro-pascal-bella-ramsey\">\u003cem>The Last of Us\u003c/em>\u003c/a> and \u003cem>Yellowjackets\u003c/em> helped increase the ranks of \u003ca href=\"https://www.kqed.org/arts/tag/lgbtq\">LGBTQ+\u003c/a> characters on prime time by 4% over the previous season, according to a new study by the advocacy group GLAAD.\u003c/p>\n\u003cp>This year’s “Where We Are on TV” study, released Thursday, counted 489 LGBTQ+ characters across scripted prime-time broadcast, cable and streaming shows — up 21 additional characters. It marks a boost after two years of decline, but remains far below the 2021-2022 record high of 637 characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sarah Kate Ellis, president and CEO of the group, warned that those numbers could still decrease soon: More than 200 of the LGBTQ+ characters counted this year — in shows like \u003cem>Heartstopper\u003c/em>, \u003cem>Harlem\u003c/em> and \u003cem>Elite\u003c/em> — will not be returning due to a flurry of series cancellations, endings or because they were limited series.\u003c/p>\n\u003cp>“Storytelling brings us together and this current cultural and political climate calls on creatives and executives to double down on fair and accurate stories of LGBTQ people,” Ellis writes in the report.\u003c/p>\n\u003cp>GLAAD added that the number of transgender characters on TV has slightly increased from last year to reach 33 — 24 trans women, seven trans men, and two nonbinary characters — but only four trans characters appear on series that have been officially renewed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The report is the 20th edition of the annual tracking by GLAAD and charts a remarkable leap from just 47 LGBTQ+ characters in the first study. It arrives as President Donald Trump has targeted transgender and nonbinary people with a series of executive orders — including one declaring the existence of two unchangeable sexes — stripping government websites of “gender ideology” an reinstituting a ban on transgender service members in the military.\u003c/p>\n\u003cp>A recent Gallup poll found 9.3% of U.S. adults identified as lesbian, gay, bisexual, transgender or something other than straight or heterosexual. The percentage has more than doubled since Gallup first measured LGBTQ+ identification in 2012.\u003c/p>\n\u003cfigure id=\"attachment_13983506\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/four-seasons.png\" alt=\"A Black man and a dark-skinned white man with a beard recline in bed together peacefully. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/four-seasons.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/four-seasons-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/four-seasons-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/four-seasons-1536x1024.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Colman Domingo and Marco Calvani in a scene from ‘The Four Seasons.’ \u003ccite>(Jon Pack/Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The GLAAD study found that representation on broadcast and cable have continually declined, while streaming programming saw an increase of LGBTQ+ characters.\u003c/p>\n\u003cp>ABC last season had the largest percentage of network LGBTQ+ series regulars — with 12.9% — while Netflix had the most LGBTQ+ characters on streaming, with 177. It found that the eight major streamers added 45 characters from the 327 in the previous period.\u003c/p>\n\u003cp>GLAAD noted LGBTQ+ characters in such network shows as NBC’s \u003cem>Brilliant Minds\u003c/em>, which has a gay lead, CBS dramas \u003cem>Matlock\u003c/em> and \u003cem>Watson\u003c/em>, both of which feature supporting queer women, and ensemble characters on comedies like Fox’s \u003cem>Going Dutch\u003c/em> and NBC’s \u003cem>St. Denis Medical\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On streaming, GLAAD cited Netflix’s \u003cem>The Four Seasons\u003c/em>, \u003cem>Arcane\u003c/em> and \u003cem>Kaos\u003c/em>, and Amazon’s \u003cem>Clean Slate\u003c/em>, \u003cem>Harlem\u003c/em> and \u003cem>The Wheel of Time\u003c/em>. Hulu, meanwhile, had \u003cem>Mid-Century Modern\u003c/em>, \u003cem>Big Boys\u003c/em> and \u003cem>Wreck\u003c/em>.\u003c/p>\n\u003cp>The study found that the percentage of characters of color slightly increased up to 51% of all LGBTQ+ characters counted, and, for the second year in a row, only one LGBTQ+ character was depicted as living with HIV — but that character, on HBO Max’s \u003cem>Cris Miró\u003c/em>, won’t be returning.\u003c/p>\n\u003cp>In their 2019-20 study GLAAD had asked the industry to reach 20% representation of regularly seen LGBTQ+ characters on all three platforms by 2025, and to ensure that half of LGBTQ+ characters on every TV platform were people of color within the next two years. This year’s report does not include a challenge tied to a specific percentage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“As this study and the TV industry have evolved, so too have our benchmarks,” GLAAD said. “There is a need for urgent action and improvement today across all platforms with this newest study finding a significant portion of the LGBTQ characters counted will not return.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.instagram.com/hilary_riversh/\">Hilary Rivers\u003c/a>, a San Francisco drag artist who was \u003ca href=\"https://www.sfchronicle.com/sf/article/drag-performer-detained-ice-20399122.php\">arrested by ICE\u003c/a> during Pride month, makes her return to the stage on \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899?aff=ebdssbcategorybrowse\">Friday, Nov. 7 at Oakland’s White Horse\u003c/a> for a performance that doubles as a fundraiser as she rebuilds her life.\u003c/p>\n\u003cp>Born in El Salvador and raised in Guatemala, Rivers came to San Francisco as an asylum seeker fleeing persecution for her LGBTQ+ identity. The day after she placed second in Miss & Mr. Safe Latino, a long-running pageant presented by Instituto Familiar de la Raza, ICE agents arrested her at a routine immigration appointment.\u003c/p>\n\u003cp>[aside postid='news_12061844']In a recent \u003ca href=\"https://48hills.org/2025/10/drag-queen-snatched-by-ice-released-with-asylum-it-was-terrible/\">interview with \u003cem>El Tecolote\u003c/em> and 48 Hills\u003c/a>, Rivers recounted her harrowing three months in immigration detention at the Golden State Annex detention center in McFarland, California, where she was kept in a freezing cold cell so overcrowded that people had to take turns sitting down. She said she experienced sexual abuse while behind bars, and survived an injury that now requires surgery.\u003c/p>\n\u003cp>Rivers was granted asylum and returned home to San Francisco on Sept. 20. Now, the drag community is rallying around her as she works to bounce back physically, emotionally and financially.\u003c/p>\n\u003cp>“I learned I’d lost almost everything, housing and belongings,” she told \u003cem>El Tecolote\u003c/em> reporter Emma Lorraine Garcia. “Some documents were missing. I’m starting from zero. Physically, I still need surgery on my leg, which got worse during detention. But I’m free, and that gives me strength.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='news_12058784']At White Horse, a nearly 100-year-old queer bar in North Oakland, Rivers will take the stage at a party called \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899?aff=ebdssbcategorybrowse\">Caballo Blanco Against ICE\u003c/a>. Joining her will be drag artists \u003ca href=\"https://www.instagram.com/xochitlqueensf/\">Xochitl\u003c/a> and \u003ca href=\"https://www.instagram.com/la_toritia/#\">Tori Tia\u003c/a>, plus DJ Deft behind the decks.\u003c/p>\n\u003cp>The show is organized by \u003ca href=\"https://www.instagram.com/chillonassf/\">Chillonas\u003c/a>, a queer Latine party in San Francisco that’s been sharing immigration resources and protest information, and \u003ca href=\"https://www.instagram.com/sabesquecollective/#\">Sabes Que\u003c/a>, a Latine and Indigenous queer artist collective.\u003c/p>\n\u003cp>Rivers also has a \u003ca href=\"https://www.gofundme.com/f/help-hilary-rivers-reestablish-her-life-after-ice-detention\">GoFundMe\u003c/a> to cover moving expenses, lost income and basic necessities as she recovers from surgery.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hilary Rivers, Xochitl and Tori Tia perform as part of \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899\">Caballo Blanco Against ICE\u003c/a> on Friday, Nov. 7 at the White Horse (6551 Telegraph Avenue, Oakland). \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/hilary_riversh/\">Hilary Rivers\u003c/a>, a San Francisco drag artist who was \u003ca href=\"https://www.sfchronicle.com/sf/article/drag-performer-detained-ice-20399122.php\">arrested by ICE\u003c/a> during Pride month, makes her return to the stage on \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899?aff=ebdssbcategorybrowse\">Friday, Nov. 7 at Oakland’s White Horse\u003c/a> for a performance that doubles as a fundraiser as she rebuilds her life.\u003c/p>\n\u003cp>Born in El Salvador and raised in Guatemala, Rivers came to San Francisco as an asylum seeker fleeing persecution for her LGBTQ+ identity. The day after she placed second in Miss & Mr. Safe Latino, a long-running pageant presented by Instituto Familiar de la Raza, ICE agents arrested her at a routine immigration appointment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a recent \u003ca href=\"https://48hills.org/2025/10/drag-queen-snatched-by-ice-released-with-asylum-it-was-terrible/\">interview with \u003cem>El Tecolote\u003c/em> and 48 Hills\u003c/a>, Rivers recounted her harrowing three months in immigration detention at the Golden State Annex detention center in McFarland, California, where she was kept in a freezing cold cell so overcrowded that people had to take turns sitting down. She said she experienced sexual abuse while behind bars, and survived an injury that now requires surgery.\u003c/p>\n\u003cp>Rivers was granted asylum and returned home to San Francisco on Sept. 20. Now, the drag community is rallying around her as she works to bounce back physically, emotionally and financially.\u003c/p>\n\u003cp>“I learned I’d lost almost everything, housing and belongings,” she told \u003cem>El Tecolote\u003c/em> reporter Emma Lorraine Garcia. “Some documents were missing. I’m starting from zero. Physically, I still need surgery on my leg, which got worse during detention. But I’m free, and that gives me strength.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At White Horse, a nearly 100-year-old queer bar in North Oakland, Rivers will take the stage at a party called \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899?aff=ebdssbcategorybrowse\">Caballo Blanco Against ICE\u003c/a>. Joining her will be drag artists \u003ca href=\"https://www.instagram.com/xochitlqueensf/\">Xochitl\u003c/a> and \u003ca href=\"https://www.instagram.com/la_toritia/#\">Tori Tia\u003c/a>, plus DJ Deft behind the decks.\u003c/p>\n\u003cp>The show is organized by \u003ca href=\"https://www.instagram.com/chillonassf/\">Chillonas\u003c/a>, a queer Latine party in San Francisco that’s been sharing immigration resources and protest information, and \u003ca href=\"https://www.instagram.com/sabesquecollective/#\">Sabes Que\u003c/a>, a Latine and Indigenous queer artist collective.\u003c/p>\n\u003cp>Rivers also has a \u003ca href=\"https://www.gofundme.com/f/help-hilary-rivers-reestablish-her-life-after-ice-detention\">GoFundMe\u003c/a> to cover moving expenses, lost income and basic necessities as she recovers from surgery.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hilary Rivers, Xochitl and Tori Tia perform as part of \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899\">Caballo Blanco Against ICE\u003c/a> on Friday, Nov. 7 at the White Horse (6551 Telegraph Avenue, Oakland). \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.instagram.com/per_sia/?hl=en\">Per Sia\u003c/a> is San Francisco’s new \u003ca href=\"https://www.kqed.org/arts/tag/drag\">drag\u003c/a> laureate, Mayor Daniel Lurie announced Wednesday. A vivacious performer who’s been active in San Francisco for almost two decades, Per Sia is a champion of \u003ca href=\"https://www.kqed.org/arts/tag/lgbtq\">LGTBQ+\u003c/a> rights and education, and is an active participant in Drag Queen Story Hour, a colorful and inclusive literacy program that has been replicated in 20 states.\u003c/p>\n\u003cp>Whether campaigning to “Drag Out the Vote” during election season, marching for immigrant rights or reading to children at libraries, Per Sia infuses her art with advocacy for San Francisco’s diverse working-class communities.\u003c/p>\n\u003cp>\u003cb>“\u003c/b>I am trans; I’m Latina; I am a product of immigrant parents; I’m a drag performer and an educator,” Per Sia told KQED. “So my existence is on the line, but I don’t let that dim my joy, because joy is my biggest resistance.”\u003c/p>\n\u003cp>Per Sia, an elementary after-school arts educator by day, is the second-ever artist to hold the position of San Francisco drag laureate, the first program of its kind in the country. As drag laureate, she’ll serve as an ambassador for the city’s drag scene, LGTBQ+ community and nightlife sector. The first person to hold the position was Oasis club owner and performer D’Arcy Drollinger.\u003c/p>\n\u003cp>A party for Per Sia will take place at Oasis on Nov. 30.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/per_sia/?hl=en\">Per Sia\u003c/a> is San Francisco’s new \u003ca href=\"https://www.kqed.org/arts/tag/drag\">drag\u003c/a> laureate, Mayor Daniel Lurie announced Wednesday. A vivacious performer who’s been active in San Francisco for almost two decades, Per Sia is a champion of \u003ca href=\"https://www.kqed.org/arts/tag/lgbtq\">LGTBQ+\u003c/a> rights and education, and is an active participant in Drag Queen Story Hour, a colorful and inclusive literacy program that has been replicated in 20 states.\u003c/p>\n\u003cp>Whether campaigning to “Drag Out the Vote” during election season, marching for immigrant rights or reading to children at libraries, Per Sia infuses her art with advocacy for San Francisco’s diverse working-class communities.\u003c/p>\n\u003cp>\u003cb>“\u003c/b>I am trans; I’m Latina; I am a product of immigrant parents; I’m a drag performer and an educator,” Per Sia told KQED. “So my existence is on the line, but I don’t let that dim my joy, because joy is my biggest resistance.”\u003c/p>\n\u003cp>Per Sia, an elementary after-school arts educator by day, is the second-ever artist to hold the position of San Francisco drag laureate, the first program of its kind in the country. As drag laureate, she’ll serve as an ambassador for the city’s drag scene, LGTBQ+ community and nightlife sector. The first person to hold the position was Oasis club owner and performer D’Arcy Drollinger.\u003c/p>\n\u003cp>A party for Per Sia will take place at Oasis on Nov. 30.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "In ‘The Royal We,’ Faith No More Co-Founder Tells All — But Skips His Band | KQED",
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"content": "\u003cfigure id=\"attachment_13982952\" class=\"wp-caption aligncenter\" style=\"max-width: 1378px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/roddy-b.png\" alt=\"A book cover featuring a black and white image of a young white man with chin-length dreadlocks standing against a blank wall and smiling sweetly. He is wearing a black sweater. \" width=\"1378\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/roddy-b.png 1378w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/roddy-b-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/roddy-b-768x1115.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/roddy-b-1058x1536.png 1058w\" sizes=\"auto, (max-width: 1378px) 100vw, 1378px\">\u003cfigcaption class=\"wp-caption-text\">‘The Royal We’ by Roddy Bottum. \u003ccite>(Akashic Books, Ltd.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fair to expect a memoir by Faith No More’s co-founder and keyboardist to include a wealth of revelations about the influential San Francisco band. But if that’s what you were hoping to get from Roddy Bottum’s new memoir, \u003cem>The Royal We, \u003c/em>you might leave sorely disappointed.\u003c/p>\n\u003cp>In his debut book, one of hard rock’s few gay icons does take a no-holds-barred approach to telling the story of his upbringing in Southern California and, in particular, life on the artsy fringes of 1980s San Francisco.\u003c/p>\n\u003cp>Yet, although Faith No More’s success was a huge part of Bottum’s life, I left \u003cem>The Royal We\u003c/em> with almost no idea how the band actually worked together — on tour, in the studio, writing songs or on a day-to-day organizational basis once they graduated from van life. One is left with the impression that, while Bottum is willing to tick boxes here and there about tours, hotels and vehicles, he actively withholds insights about his bandmates.\u003c/p>\n\u003cp>[aside postid='arts_13936538']What the 62-year-old does detail well in this memoir are his harrowing struggles with heroin and the loneliness he long battled because of his sexuality. Bottum shares some genuinely perturbing stories of sexual encounters he experienced with adult men while underage, growing up in Southern California. His journey to coming out in the pages of \u003cem>The Advocate\u003c/em> is a fraught and sometimes frightening one. That interview he gave to Lance Loud, he reveals, was sold to the British rock press without his consent.\u003c/p>\n\u003cp>\u003cem>The Royal We \u003c/em>shines when Bottum vividly takes the reader back to pre-tech San Francisco: the grime, the venues, the underground bands, the bike messengers, the “anything goes” of it all. Local legends like \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a> and the Dicks feature fleetingly, alongside lesser-known characters from the old-school punk scene. Bottum is refreshingly frank about his own misguided cultural appropriation during that era. (There were dashikis and white-people dreadlocks involved, he admits.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Later, Bottum very effectively captures the dichotomy of functioning as a gay musician in a rock world that was inherently homophobic. One of the high-points of the book is when he writes — and you can practically feel his skin crawling through the page — about Faith No More’s increasingly reluctant participation on a 1992 Guns N’ Roses and Metallica tour. His tales of rampant misogyny are a disturbing reminder of just how awful the pre-grunge rock world was for everyone who wasn’t a straight male meathead. In this section in particular, it’s impossible not to imagine how more of these music industry anecdotes could have opened up the book’s scope.\u003c/p>\n\u003cp>Throughout the book, Bottum revels in his lifelong friendship with Courtney Love, who fronted Faith No More for a short time. He actually devotes more pages to Love — and, consequently, Kurt Cobain — than to Faith No More’s actual frontman, Mike Patton.\u003c/p>\n\u003cp>Once the book reaches its final chapters, as Bottum wrestles with death, grief, sobriety and finding a path forward, it’s easy to forgive the omissions about his band. Perhaps his inner life ultimately has been more impacted by Courtney and Kurt than the musicians he worked with. His disinterest in discussing Faith No More in any depth would certainly suggest as much.\u003c/p>\n\u003cp>The most frustrating quirks of\u003cem> The Royal We\u003c/em> have to do with Bottum’s refusal to adhere to certain writing rules. He, by his own admission, cannot remember when things happened, so the years that most events occurred are glaringly absent, even though many can be easily found with a Google search. Friends and family members die on one page, only to emerge alive on the next. Worst of all, Bottum refuses to include people’s last names. (Love is referred to simply as “Courtney” throughout.) This can be a source of confusion with some anecdotes, especially when it comes to matters relating to Bottum’s boyfriend Jim and his bandmate, guitarist Jim Martin. This choice feels like one Bottum has included willfully — almost a “you figure it out” middle finger to the reader. (He readily explains repeatedly that being a contrarian fuels many of his actions.)\u003c/p>\n\u003cp>[aside postid='arts_13966822']Despite these issues, \u003cem>The Royal We\u003c/em> is a mostly easy, compelling read. It’s a swift 252 pages full of youthful folly, alternative culture, unchecked rebellious instincts and an undercurrent of oddly formed faith that things will work out the way that they’re supposed to. Bottum’s seemingly lifelong refusal to succumb to planning — or frankly, giving a crap about much of anything — is often astonishing to behold.\u003c/p>\n\u003cp>Could we have used some (any?) details about the recording sessions for \u003cem>Angel Dust\u003c/em>, arguably Faith No More’s greatest album? Absolutely. Would more rock ‘n’ roll dirt have been a fun addition? Undoubtedly. The overriding sense that \u003cem>The Royal We\u003c/em> is not the whole story can’t help but leave the reader wanting more — especially when Bottum so carefully picks and chooses when to let rip his most searing vulnerabilities. It’s a truly wonderful thing when he does.\u003c/p>\n\u003cp>While this memoir doesn’t always adhere to the rules of the format, that is in many ways a fitting reflection of the way Bottum has lived his life. If he ever writes a follow-up to fill in the gaps, it will surely be worth reading, just as \u003cem>The Royal We\u003c/em> is.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Royal We’ by Roddy Bottum hits shelves Nov. 4, 2025, via Akashic Books, Ltd.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13982952\" class=\"wp-caption aligncenter\" style=\"max-width: 1378px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/roddy-b.png\" alt=\"A book cover featuring a black and white image of a young white man with chin-length dreadlocks standing against a blank wall and smiling sweetly. He is wearing a black sweater. \" width=\"1378\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/roddy-b.png 1378w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/roddy-b-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/roddy-b-768x1115.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/roddy-b-1058x1536.png 1058w\" sizes=\"auto, (max-width: 1378px) 100vw, 1378px\">\u003cfigcaption class=\"wp-caption-text\">‘The Royal We’ by Roddy Bottum. \u003ccite>(Akashic Books, Ltd.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fair to expect a memoir by Faith No More’s co-founder and keyboardist to include a wealth of revelations about the influential San Francisco band. But if that’s what you were hoping to get from Roddy Bottum’s new memoir, \u003cem>The Royal We, \u003c/em>you might leave sorely disappointed.\u003c/p>\n\u003cp>In his debut book, one of hard rock’s few gay icons does take a no-holds-barred approach to telling the story of his upbringing in Southern California and, in particular, life on the artsy fringes of 1980s San Francisco.\u003c/p>\n\u003cp>Yet, although Faith No More’s success was a huge part of Bottum’s life, I left \u003cem>The Royal We\u003c/em> with almost no idea how the band actually worked together — on tour, in the studio, writing songs or on a day-to-day organizational basis once they graduated from van life. One is left with the impression that, while Bottum is willing to tick boxes here and there about tours, hotels and vehicles, he actively withholds insights about his bandmates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What the 62-year-old does detail well in this memoir are his harrowing struggles with heroin and the loneliness he long battled because of his sexuality. Bottum shares some genuinely perturbing stories of sexual encounters he experienced with adult men while underage, growing up in Southern California. His journey to coming out in the pages of \u003cem>The Advocate\u003c/em> is a fraught and sometimes frightening one. That interview he gave to Lance Loud, he reveals, was sold to the British rock press without his consent.\u003c/p>\n\u003cp>\u003cem>The Royal We \u003c/em>shines when Bottum vividly takes the reader back to pre-tech San Francisco: the grime, the venues, the underground bands, the bike messengers, the “anything goes” of it all. Local legends like \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a> and the Dicks feature fleetingly, alongside lesser-known characters from the old-school punk scene. Bottum is refreshingly frank about his own misguided cultural appropriation during that era. (There were dashikis and white-people dreadlocks involved, he admits.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Later, Bottum very effectively captures the dichotomy of functioning as a gay musician in a rock world that was inherently homophobic. One of the high-points of the book is when he writes — and you can practically feel his skin crawling through the page — about Faith No More’s increasingly reluctant participation on a 1992 Guns N’ Roses and Metallica tour. His tales of rampant misogyny are a disturbing reminder of just how awful the pre-grunge rock world was for everyone who wasn’t a straight male meathead. In this section in particular, it’s impossible not to imagine how more of these music industry anecdotes could have opened up the book’s scope.\u003c/p>\n\u003cp>Throughout the book, Bottum revels in his lifelong friendship with Courtney Love, who fronted Faith No More for a short time. He actually devotes more pages to Love — and, consequently, Kurt Cobain — than to Faith No More’s actual frontman, Mike Patton.\u003c/p>\n\u003cp>Once the book reaches its final chapters, as Bottum wrestles with death, grief, sobriety and finding a path forward, it’s easy to forgive the omissions about his band. Perhaps his inner life ultimately has been more impacted by Courtney and Kurt than the musicians he worked with. His disinterest in discussing Faith No More in any depth would certainly suggest as much.\u003c/p>\n\u003cp>The most frustrating quirks of\u003cem> The Royal We\u003c/em> have to do with Bottum’s refusal to adhere to certain writing rules. He, by his own admission, cannot remember when things happened, so the years that most events occurred are glaringly absent, even though many can be easily found with a Google search. Friends and family members die on one page, only to emerge alive on the next. Worst of all, Bottum refuses to include people’s last names. (Love is referred to simply as “Courtney” throughout.) This can be a source of confusion with some anecdotes, especially when it comes to matters relating to Bottum’s boyfriend Jim and his bandmate, guitarist Jim Martin. This choice feels like one Bottum has included willfully — almost a “you figure it out” middle finger to the reader. (He readily explains repeatedly that being a contrarian fuels many of his actions.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite these issues, \u003cem>The Royal We\u003c/em> is a mostly easy, compelling read. It’s a swift 252 pages full of youthful folly, alternative culture, unchecked rebellious instincts and an undercurrent of oddly formed faith that things will work out the way that they’re supposed to. Bottum’s seemingly lifelong refusal to succumb to planning — or frankly, giving a crap about much of anything — is often astonishing to behold.\u003c/p>\n\u003cp>Could we have used some (any?) details about the recording sessions for \u003cem>Angel Dust\u003c/em>, arguably Faith No More’s greatest album? Absolutely. Would more rock ‘n’ roll dirt have been a fun addition? Undoubtedly. The overriding sense that \u003cem>The Royal We\u003c/em> is not the whole story can’t help but leave the reader wanting more — especially when Bottum so carefully picks and chooses when to let rip his most searing vulnerabilities. It’s a truly wonderful thing when he does.\u003c/p>\n\u003cp>While this memoir doesn’t always adhere to the rules of the format, that is in many ways a fitting reflection of the way Bottum has lived his life. If he ever writes a follow-up to fill in the gaps, it will surely be worth reading, just as \u003cem>The Royal We\u003c/em> is.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Royal We’ by Roddy Bottum hits shelves Nov. 4, 2025, via Akashic Books, Ltd.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13920993/a-family-tradition-of-altar-making-as-told-by-rio-yanez\">Rio Yañez\u003c/a> and Sacramento’s \u003ca href=\"https://www.bridgettrex.com/\">Bridgétt Rex\u003c/a> began curating the 2025 Día de Los Muertos show at the San Francisco gallery and cultural center SOMArts, their mission statement was clear: Altars come in many forms. And no matter how you express your grief, you are loved.\u003c/p>\n\u003cp>“This show features artists from so many different cultural backgrounds, from so many different parts of the world,” says Yañez. “So it’s about coming together and sharing the ways in which we honor the dead.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://somarts.org/exhibition/weloveyou/\">Día de Los Muertos 2025: We Love You,\u003c/a>\u003c/em> on view now through Nov. 7, features 13 artists, all of whom are women, transgender or gender-nonconforming. Yañez says this show embodies modern interpretations, ideas and concepts of the afterlife.\u003c/p>\n\u003cp>“Being in San Francisco, we have a certain amount of leeway and freedom on how we approach this,” he adds, noting the city’s history of challenging the status quo.\u003c/p>\n\u003cfigure id=\"attachment_13982606\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982606 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-2000x1333.jpg\" alt=\"An overview of the SOMArts gallery.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">SOMArts gallery full of artwork from the ‘Día de Los Muertos 2025: We Love You’ show. \u003ccite>(Claire S Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yañez is speaking from experience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His father,\u003ca href=\"https://www.kqed.org/arts/13833740/rene-yanez-revered-chicano-artist-and-gallery-founder-dies\"> René Yañez\u003c/a>, cofounder of San Francisco’s\u003ca href=\"https://galeriadelaraza.org/\"> Galería de la Raza\u003c/a>, brought the first Día de Los Muertos public art exhibition to the city in 1972. Along with his colleague, the late artist and curator \u003ca href=\"https://americanart.si.edu/artist/ralph-maradiaga-31836\">Ralph Maradiaga\u003c/a>, he created an annual event for people to collectively mourn, celebrate and honor those who’ve passed on.\u003c/p>\n\u003cp>Over the years the exhibition has been shown at Galería de la Raza and Yerba Buena Center for the Arts, before finding its current home at SOMArts 25 years ago. Yañez worked on this show with his father every year from 2005 up until the elder passed in 2018.\u003c/p>\n\u003cp>Now through \u003ca href=\"https://somarts.org/event/weloveyouclosing/\">the exhibition’s closing reception\u003c/a>, SOMArts’ gallery will be occupied with this year’s collection of altars — pieces that \u003cspan style=\"font-weight: 400\">artists have dedicated “to parts of themselves,” says Yañez, “or their relationships to others that they are mourning.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13982607\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982607 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-2000x1333.jpg\" alt=\"A blue, red and orange art display mounted in an art gallery. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Monique D. López’s ‘Amor Eterno’ 2025 at SOMArts. \u003ccite>(Claire S Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artworks are bright, fluorescent even. There are large painted sculptures, and a small dome you can enter and read written messages of all sorts. Some are more subtle and intimate, while others oppose oppressive forces or touch on current events.\u003c/p>\n\u003cp>Many of the pieces in the exhibition are both personal and topical, like work that champions trans rights. This show, says Yañez, has always been about highlighting issues of our time.\u003c/p>\n\u003cp>Yañez recalls being a kid and seeing his father curate shows as a response to the first wave of the AIDS crisis and Operation Desert Storm. Later, the shows shed light on lives lost in Hurricane Katrina and the Pulse nightclub shooting.\u003c/p>\n\u003cp>“There’s always been a sense of urgency in how the show responds to what’s going on in the world,” says Yañez. “That is [my father’s] legacy in the show. As his son, that’s something I strive to continue.”\u003c/p>\n\u003cp>The biggest issue reflected in this year’s show, according to Yañez, is President Trump’s policies — specifically in regards to immigration, as well as anti-trans legislation. “I wish I didn’t have to say that,” Yañez says. “But that’s the reality that we’re living in.”\u003c/p>\n\u003cfigure id=\"attachment_13982663\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982663 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-2000x1333.jpg\" alt=\"An image of a colorful altar. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Liv Styler, ‘Memento (Me)mori(as),’ shown at SOMArts’ Día de Los Muertos exhibition. \u003ccite>(Claire S Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alongside colorful displays of love for people who’ve passed, artists have also created memorials to ideas that have withered, or small shrines to their future selves.\u003c/p>\n\u003cp>Just inside of the gallery stands \u003ca href=\"https://www.instagram.com/thelivstyler/\">Liv Styler\u003c/a>‘s “Memento (Me)mori(as),” a work of art that encompasses two large walls, and asks audiences to redefine their idea of familial connections. One wall shows portraits of Styler and her children, while the other wall is decorated with Monarch butterflies emerging from what she calls “a painful transition” in a fireplace and ascending skyward toward a still-life painting, then beyond.\u003c/p>\n\u003cp>The butterflies are courtesy of her Mexican heritage. Both the painting and the fireplace, centerpieces in the artwork, are creative remixes of Styler’s childhood home.\u003c/p>\n\u003cp>“We had no art,” says Styler. “We had nothing in our home. It was a very colorless, lifeless, joyless space. But there was this one ugly-ass landscape.”\u003c/p>\n\u003cfigure id=\"attachment_13982661\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982661 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-scaled.jpg\" alt=\"A close-up of a painted wall made in the image of an altar. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Liv Styler’s ‘Memento (Me)mori(as).’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Styler chose to recreate the landscape in her own way, reflecting how she\u003c/span> learned to create an “\u003cspan style=\"font-weight: 400\">internal world” that was full of the color she wasn’t feeling at home.\u003c/span>\u003c/p>\n\u003cp>“Instead of doing the horrifically boring greens and browns,” she says of the original piece, “I recreated it in the way that I wanted to see it — which looked like Lisa Frank kinda exploded all over it.”\u003c/p>\n\u003cp>Below the landscape, the fireplace in Styler’s work is lined with bricks that bear the names of some of her closest friends — artists and activists, some still living and some who have passed on, all of them chosen family.\u003c/p>\n\u003cp>“The bricks were one of the last things I did,” says Styler, charting the steps of her creative process. “It really forced me to reflect on [the chosen family] concept the whole time. Those are the people that transformed me.”\u003c/p>\n\u003cp>Styler says her work confronts the idea of blindly honoring blood-related ancestors — specifically those who might not have accepted different gender identities. She turns that on the audience as well, with the words “what generational curse are you breaking?” written as a prompt. Sticky notes and pens are available for visitors to write messages reflecting on how they’ve honored themselves, made a brave choice or broken a family curse.\u003c/p>\n\u003cp>“I really hope there’s some folks out there who walk through it and have had a similar familial experience, where they just aren’t really sure about their ancestors,” she says. For those who feel like she does, Styler says, “There’s always family out there for you. There’s always people out there who are gonna love you, and you just have to go and find them.”\u003c/p>\n\u003cp>Sometimes, she says, in order to find that chosen family, you have to go through trials and tribulations, and make changes like the butterflies in her work.\u003c/p>\n\u003cp>“And then,” she says, “as you heal and you become that new version of yourself, and that ancestor infuses into you, you find that chosen family a lot easier.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://somarts.org/exhibition/weloveyou/\">Día de Los Muertos 2025: ‘We Love You’\u003c/a> is on display now through the Nov. 7 closing reception and drag show at SOMArts (934 Brannan St., San Francisco). \u003ca href=\"https://somarts.org/event/weloveyouclosing/\">Click here for more information\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13920993/a-family-tradition-of-altar-making-as-told-by-rio-yanez\">Rio Yañez\u003c/a> and Sacramento’s \u003ca href=\"https://www.bridgettrex.com/\">Bridgétt Rex\u003c/a> began curating the 2025 Día de Los Muertos show at the San Francisco gallery and cultural center SOMArts, their mission statement was clear: Altars come in many forms. And no matter how you express your grief, you are loved.\u003c/p>\n\u003cp>“This show features artists from so many different cultural backgrounds, from so many different parts of the world,” says Yañez. “So it’s about coming together and sharing the ways in which we honor the dead.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://somarts.org/exhibition/weloveyou/\">Día de Los Muertos 2025: We Love You,\u003c/a>\u003c/em> on view now through Nov. 7, features 13 artists, all of whom are women, transgender or gender-nonconforming. Yañez says this show embodies modern interpretations, ideas and concepts of the afterlife.\u003c/p>\n\u003cp>“Being in San Francisco, we have a certain amount of leeway and freedom on how we approach this,” he adds, noting the city’s history of challenging the status quo.\u003c/p>\n\u003cfigure id=\"attachment_13982606\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982606 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-2000x1333.jpg\" alt=\"An overview of the SOMArts gallery.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">SOMArts gallery full of artwork from the ‘Día de Los Muertos 2025: We Love You’ show. \u003ccite>(Claire S Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yañez is speaking from experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His father,\u003ca href=\"https://www.kqed.org/arts/13833740/rene-yanez-revered-chicano-artist-and-gallery-founder-dies\"> René Yañez\u003c/a>, cofounder of San Francisco’s\u003ca href=\"https://galeriadelaraza.org/\"> Galería de la Raza\u003c/a>, brought the first Día de Los Muertos public art exhibition to the city in 1972. Along with his colleague, the late artist and curator \u003ca href=\"https://americanart.si.edu/artist/ralph-maradiaga-31836\">Ralph Maradiaga\u003c/a>, he created an annual event for people to collectively mourn, celebrate and honor those who’ve passed on.\u003c/p>\n\u003cp>Over the years the exhibition has been shown at Galería de la Raza and Yerba Buena Center for the Arts, before finding its current home at SOMArts 25 years ago. Yañez worked on this show with his father every year from 2005 up until the elder passed in 2018.\u003c/p>\n\u003cp>Now through \u003ca href=\"https://somarts.org/event/weloveyouclosing/\">the exhibition’s closing reception\u003c/a>, SOMArts’ gallery will be occupied with this year’s collection of altars — pieces that \u003cspan style=\"font-weight: 400\">artists have dedicated “to parts of themselves,” says Yañez, “or their relationships to others that they are mourning.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13982607\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982607 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-2000x1333.jpg\" alt=\"A blue, red and orange art display mounted in an art gallery. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Monique D. López’s ‘Amor Eterno’ 2025 at SOMArts. \u003ccite>(Claire S Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artworks are bright, fluorescent even. There are large painted sculptures, and a small dome you can enter and read written messages of all sorts. Some are more subtle and intimate, while others oppose oppressive forces or touch on current events.\u003c/p>\n\u003cp>Many of the pieces in the exhibition are both personal and topical, like work that champions trans rights. This show, says Yañez, has always been about highlighting issues of our time.\u003c/p>\n\u003cp>Yañez recalls being a kid and seeing his father curate shows as a response to the first wave of the AIDS crisis and Operation Desert Storm. Later, the shows shed light on lives lost in Hurricane Katrina and the Pulse nightclub shooting.\u003c/p>\n\u003cp>“There’s always been a sense of urgency in how the show responds to what’s going on in the world,” says Yañez. “That is [my father’s] legacy in the show. As his son, that’s something I strive to continue.”\u003c/p>\n\u003cp>The biggest issue reflected in this year’s show, according to Yañez, is President Trump’s policies — specifically in regards to immigration, as well as anti-trans legislation. “I wish I didn’t have to say that,” Yañez says. “But that’s the reality that we’re living in.”\u003c/p>\n\u003cfigure id=\"attachment_13982663\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982663 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-2000x1333.jpg\" alt=\"An image of a colorful altar. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Liv Styler, ‘Memento (Me)mori(as),’ shown at SOMArts’ Día de Los Muertos exhibition. \u003ccite>(Claire S Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alongside colorful displays of love for people who’ve passed, artists have also created memorials to ideas that have withered, or small shrines to their future selves.\u003c/p>\n\u003cp>Just inside of the gallery stands \u003ca href=\"https://www.instagram.com/thelivstyler/\">Liv Styler\u003c/a>‘s “Memento (Me)mori(as),” a work of art that encompasses two large walls, and asks audiences to redefine their idea of familial connections. One wall shows portraits of Styler and her children, while the other wall is decorated with Monarch butterflies emerging from what she calls “a painful transition” in a fireplace and ascending skyward toward a still-life painting, then beyond.\u003c/p>\n\u003cp>The butterflies are courtesy of her Mexican heritage. Both the painting and the fireplace, centerpieces in the artwork, are creative remixes of Styler’s childhood home.\u003c/p>\n\u003cp>“We had no art,” says Styler. “We had nothing in our home. It was a very colorless, lifeless, joyless space. But there was this one ugly-ass landscape.”\u003c/p>\n\u003cfigure id=\"attachment_13982661\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982661 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-scaled.jpg\" alt=\"A close-up of a painted wall made in the image of an altar. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Liv Styler’s ‘Memento (Me)mori(as).’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Styler chose to recreate the landscape in her own way, reflecting how she\u003c/span> learned to create an “\u003cspan style=\"font-weight: 400\">internal world” that was full of the color she wasn’t feeling at home.\u003c/span>\u003c/p>\n\u003cp>“Instead of doing the horrifically boring greens and browns,” she says of the original piece, “I recreated it in the way that I wanted to see it — which looked like Lisa Frank kinda exploded all over it.”\u003c/p>\n\u003cp>Below the landscape, the fireplace in Styler’s work is lined with bricks that bear the names of some of her closest friends — artists and activists, some still living and some who have passed on, all of them chosen family.\u003c/p>\n\u003cp>“The bricks were one of the last things I did,” says Styler, charting the steps of her creative process. “It really forced me to reflect on [the chosen family] concept the whole time. Those are the people that transformed me.”\u003c/p>\n\u003cp>Styler says her work confronts the idea of blindly honoring blood-related ancestors — specifically those who might not have accepted different gender identities. She turns that on the audience as well, with the words “what generational curse are you breaking?” written as a prompt. Sticky notes and pens are available for visitors to write messages reflecting on how they’ve honored themselves, made a brave choice or broken a family curse.\u003c/p>\n\u003cp>“I really hope there’s some folks out there who walk through it and have had a similar familial experience, where they just aren’t really sure about their ancestors,” she says. For those who feel like she does, Styler says, “There’s always family out there for you. There’s always people out there who are gonna love you, and you just have to go and find them.”\u003c/p>\n\u003cp>Sometimes, she says, in order to find that chosen family, you have to go through trials and tribulations, and make changes like the butterflies in her work.\u003c/p>\n\u003cp>“And then,” she says, “as you heal and you become that new version of yourself, and that ancestor infuses into you, you find that chosen family a lot easier.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://somarts.org/exhibition/weloveyou/\">Día de Los Muertos 2025: ‘We Love You’\u003c/a> is on display now through the Nov. 7 closing reception and drag show at SOMArts (934 Brannan St., San Francisco). \u003ca href=\"https://somarts.org/event/weloveyouclosing/\">Click here for more information\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"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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"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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"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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},
"says-you": {
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},
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},
"science-friday": {
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