‘Queer Threads’ Weaves Together LGBTQ Trauma, Hope and Resilience
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Fresh Meat Festival Brings Top-Notch LGBTQ+ Performers to Z Space
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You can hear her work on \u003ca href=\"https://www.npr.org/search?query=Rachael%20Myrow&page=1\">NPR\u003c/a>, \u003ca href=\"https://theworld.org/people/rachael-myrow\">The World\u003c/a>, WBUR's \u003ca href=\"https://www.wbur.org/search?q=Rachael%20Myrow\">\u003ci>Here & Now\u003c/i>\u003c/a> and the BBC. \u003c/i>She also guest hosts for KQED's \u003ci>\u003ca href=\"https://www.kqed.org/forum/tag/rachael-myrow\">Forum\u003c/a>\u003c/i>. Over the years, she's talked with Kamau Bell, David Byrne, Kamala Harris, Tony Kushner, Armistead Maupin, Van Dyke Parks, Arnold Schwarzenegger and Tommie Smith, among others.\r\n\r\nBefore all this, she hosted \u003cem>The California Report\u003c/em> for 7+ years, reporting on topics like \u003ca href=\"https://soundcloud.com/rmyrow/on-a-mission-to-reform-assisted-living\">assisted living facilities\u003c/a>, the \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2014/12/01/367703789/amazon-unleashes-robot-army-to-send-your-holiday-packages-faster\">robot takeover\u003c/a> of Amazon, and \u003ca href=\"https://www.kqed.org/bayareabites/50822/in-search-of-the-chocolate-persimmon\" rel=\"noopener noreferrer\">chocolate persimmons\u003c/a>.\r\n\r\nAwards? Sure: Peabody, Edward R. Murrow, Regional Edward R. Murrow, RTNDA, Northern California RTNDA, SPJ Northern California Chapter, LA Press Club, Golden Mic. Prior to joining KQED, Rachael worked in Los Angeles at KPCC and Marketplace. 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She's the associate editor at KQED Arts & Culture. She's the recipient of the 2018 Society of Professional Journalists-Northern California award for arts & culture reporting. In 2021, a retrospective of the 2010s she edited and creative directed, Our Turbulent Decade, received the SPJ-NorCal award for web design. Nastia's work has been published in NPR Music, \u003cem>San Francisco Chronicle\u003c/em>, VICE, Paste Magazine, Bandcamp and SF MoMA Open Space. Previously, she served as music editor at \u003cem>East Bay Express\u003c/em> and online editor at \u003cem>Hi-Fructose Magazine\u003c/em>. She holds a B.A. in comparative literature from UC Berkeley.","avatar":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twitter":"nananastia","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"podcasts","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Nastia Voynovskaya | KQED","description":"Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g"},"isLoading":false,"link":"/author/nvoynovskaya"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13929422":{"type":"posts","id":"arts_13929422","meta":{"index":"posts_1591205157","site":"arts","id":"13929422","score":null,"sort":[1685469635000]},"guestAuthors":[],"slug":"queer-threads-weaves-together-lgbtq-trauma-hope-and-resilience","title":"‘Queer Threads’ Weaves Together LGBTQ Trauma, Hope and Resilience","publishDate":1685469635,"format":"standard","headTitle":"‘Queer Threads’ Weaves Together LGBTQ Trauma, Hope and Resilience | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Independent curator John Chaich’s fascination with textile arts traces back to the 1990s, when he witnessed the \u003ca href=\"https://www.aidsmemorial.org/quilt-history\">AIDS memorial quilt\u003c/a> at the Washington Monument. Chaich remembers thinking it was a magnificent and expansive narrative tribute — something crafted by countless anonymous hands, honoring numerous individuals.\u003c/p>\n\u003cp>Not only did it shape his sense of identity and deepen his understanding of the impact of HIV and AIDS on the gay community, it also left him profoundly moved. That pivotal moment helped ignite Chaich’s passion for textile arts and the LGBTQ artists working in this medium.\u003c/p>\n\u003cp>Chaich’s visionary exhibition, \u003cem>Queer Threads\u003c/em>, debuted in 2014 at the Leslie Lohman Museum in New York City, and has since traveled to Baltimore and Boston. Now, it showcases its fourth iteration at the San Jose Museum of Quilts and Textiles. The exhibition, which opened May 12, features 38 works by 37 artists primarily from the West Coast, with a diverse range of artistic techniques and narratives.\u003c/p>\n\u003cp>Traditional fiber textile methods like embroidery and weaving intersect with queer narratives, resulting in pieces where every stitch tells a story. The exhibition also embraces a “queer as a verb” approach, incorporating mixed media elements such as painting with felt, drawing with yarn, fabric collages and fabric sculptures. The choice of material in each artwork is intentionally intertwined with the meaning, adding layers of symbolism.\u003c/p>\n\u003cfigure id=\"attachment_13929434\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DSCF2331.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13929434\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DSCF2331-1020x1002.jpg\" alt=\"\" width=\"640\" height=\"629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2331-1020x1002.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2331-800x786.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2331-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2331-768x755.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2331-1536x1509.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2331-2048x2012.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2331-1920x1886.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erika Diamond, ‘Overshot Safety Blanket (lapghan),’ 2018. Bulletproof Kevlar thread, acrylic and linen yarn. 45″ x 35″. Collection of San Jose Museum of Quilts \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This deliberate intertwining of material and message permeates \u003cem>Overshot Safety Blanket\u003c/em>, by Erika Diamond. Created in response to the \u003ca href=\"https://onepulsefoundation.org/onepulse-foundation-memorial/\">Pulse\u003c/a> nightclub massacre, the piece comments powerfully on queer visibility and safety with its use of Kevlar, the material used for bulletproof vests.\u003c/p>\n\u003cfigure id=\"attachment_13929450\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DSCF2667-Edit-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13929450\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DSCF2667-Edit-1020x708.jpg\" alt=\"\" width=\"640\" height=\"444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2667-Edit-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2667-Edit-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2667-Edit-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2667-Edit-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2667-Edit-1536x1066.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2667-Edit-2048x1421.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2667-Edit-1920x1332.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy, “Black Rainbow,” 2017. Crocheted synthetic and human hair, artist’s hair, LED light strip, and frame. 10 x 15 x 5 feet. \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland artist Angela Hennessy’s colossal crocheted work, titled \u003cem>Black Rainbow, \u003c/em>incorporates hair, traditionally associated with mourning, as a signifier of cultural and personal identity, further enhanced by the intimate process of crochet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Each artist’s dedication to their craft shines through in endless crocheting, weaving, sewing and meticulous work at the loom. The artworks evoke a range of emotions, from heart-wrenching narratives to humorous, celebratory and even spiritual expressions.\u003c/p>\n\u003cfigure id=\"attachment_13929449\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Brackens-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13929449\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Brackens-1020x873.jpg\" alt=\"\" width=\"640\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Brackens-1020x873.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Brackens-800x685.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Brackens-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Brackens-768x657.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Brackens-1536x1315.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Brackens-2048x1753.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Brackens-1920x1644.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Diedrick Brackens, ‘summer somewhere (for Danez),’ 2020. Woven cotton and acrylic yarn, 100” x 105”. \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Diedrick Brackens’ stunning \u003cem>summer somewhere (for Danez),\u003c/em> draws inspiration from Danez Smith’s poignant \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/58645/from-summer-somewhere\">poem\u003c/a>. Together, the poem and Brackens’ weaving embark on an exploration of the experiences of Black and brown men who have sex with men, delving into the profound impact of HIV/AIDS on their lives. The solitary figure depicted evokes imagery reminiscent of William Blake’s haunting \u003cem>A Negro Hung Alive by the Ribs to a Gallows,\u003c/em> or the evocative visuals conjured by Billie Holiday’s iconic song, \u003cem>Strange Fruit.\u003c/em> However, Brackens’ artwork goes beyond these dark historical allusions and embraces the radiance of the sun and the fullness of the Tree of Life, symbolizing transcendence and exultation in the face of adversity.\u003c/p>\n\u003cp>Beyond their inherent LGBTQ themes, these artworks possess a universal quality — an “otherness,” as Chaich describes it — that has the power to stir empathy in all viewers. The artists skillfully weave storytelling into their fine art objects, inviting introspection and emotional engagement.\u003c/p>\n\u003cfigure id=\"attachment_13929425\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DSCF2555-Edit-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13929425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DSCF2555-Edit-1020x680.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2555-Edit-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2555-Edit-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2555-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2555-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2555-Edit-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2555-Edit-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2555-Edit-1920x1280.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist Nathan Vincent, ‘Locker Room,’ 2011. Lion Brand yarn over Styrofoam and wood structure. 113″ x 209″ x 190.” \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the opening reception, a viewer shared with artist Nathan Vincent that his installation, \u003cem>Locker Room\u003c/em>, stirred up feelings of anxiety reminiscent of their high school experience. Chaich agrees that Vincent’s life-sized crocheted lockers, benches, urinals and showers might invite intensely personal reflections for viewers, especially aorund themes of inclusion, attraction and repulsion. “The gendered nature of locker rooms can raise thought-provoking questions about safety, potential for violence and even eroticism,” says Chaich.\u003c/p>\n\u003cp>Race, gender, sexuality and class all play a role in shaping one’s identity, and these factors are present throughout the exhibition, interwoven in intricate ways, challenging the viewer to think beyond simplistic labels.\u003cstrong> \u003c/strong>In a landscape marred by escalating violence and uncertainty for the LGBTQ community, the exhibition captures the spirit of the times, and themes of hope and healing alongside collective and individual trauma feel more resonant than ever.\u003c/p>\n\u003cp>Chaich’s curation makes space for it all. Over the past few decades, he notes, there has been a remarkable expansion in our language surrounding queerness, enabling a broader range of self-expression and identification. “The celebration of queer culture, and embracing LGBTQIA identities, has fostered a sense of belonging and unity within our community and among our allies,” he says. “However, it is crucial to acknowledge the recent setbacks and challenges that persist.”\u003c/p>\n\u003cfigure id=\"attachment_13929426\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DSCF2324-Edit-2-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13929426\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DSCF2324-Edit-2-1020x1167.jpg\" alt=\"\" width=\"640\" height=\"732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2324-Edit-2-1020x1167.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2324-Edit-2-800x915.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2324-Edit-2-160x183.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2324-Edit-2-768x878.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2324-Edit-2-1343x1536.jpg 1343w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2324-Edit-2-1791x2048.jpg 1791w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2324-Edit-2-1920x2196.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mikki Yamashiro, ‘Take Me to Your Leader,’ 2018. Acrylic, Yarn. 38″ x 26″. \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That gets to the heart of why \u003cem>Queer Threads\u003c/em> is such a powerful and thought-provoking exhibition. It speaks to the ongoing struggles and triumphs of the queer community. It celebrates the beauty and diversity of queer culture while also highlighting the ongoing fight for acceptance and representation.\u003c/p>\n\u003cp>“As queer people we have this resilience and industriousness, and creativity and spirit, and a kind of vibrancy, to really fight forward,” says Chaich.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Queer Threads’ is on view at the San Jose Museum of Quilts and Textiles through Aug. 20, 2023.\u003c/em> \u003cem>\u003ca href=\"https://www.sjquiltmuseum.org/\"> Tickets and more info \u003c/a>\u003ca href=\"https://www.sjquiltmuseum.org/\">here\u003c/a>. The museum will host a drag show at 7:30 p.m. on June 2 as part of the SubZERO Festival. \u003ca href=\"https://www.subzerofestival.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"At the San Jose Museum of Quilts and Textiles, John Chaich's curation provokes profound, timely reflections.","status":"publish","parent":0,"modified":1705005442,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1011},"headData":{"title":"‘Queer Threads’ Weaves Together LGBTQ Trauma, Hope and Resilience | KQED","description":"At the San Jose Museum of Quilts and Textiles, John Chaich's curation provokes profound, timely reflections.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Queer Threads’ Weaves Together LGBTQ Trauma, Hope and Resilience","datePublished":"2023-05-30T18:00:35.000Z","dateModified":"2024-01-11T20:37:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13929422/queer-threads-weaves-together-lgbtq-trauma-hope-and-resilience","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Independent curator John Chaich’s fascination with textile arts traces back to the 1990s, when he witnessed the \u003ca href=\"https://www.aidsmemorial.org/quilt-history\">AIDS memorial quilt\u003c/a> at the Washington Monument. Chaich remembers thinking it was a magnificent and expansive narrative tribute — something crafted by countless anonymous hands, honoring numerous individuals.\u003c/p>\n\u003cp>Not only did it shape his sense of identity and deepen his understanding of the impact of HIV and AIDS on the gay community, it also left him profoundly moved. That pivotal moment helped ignite Chaich’s passion for textile arts and the LGBTQ artists working in this medium.\u003c/p>\n\u003cp>Chaich’s visionary exhibition, \u003cem>Queer Threads\u003c/em>, debuted in 2014 at the Leslie Lohman Museum in New York City, and has since traveled to Baltimore and Boston. Now, it showcases its fourth iteration at the San Jose Museum of Quilts and Textiles. The exhibition, which opened May 12, features 38 works by 37 artists primarily from the West Coast, with a diverse range of artistic techniques and narratives.\u003c/p>\n\u003cp>Traditional fiber textile methods like embroidery and weaving intersect with queer narratives, resulting in pieces where every stitch tells a story. The exhibition also embraces a “queer as a verb” approach, incorporating mixed media elements such as painting with felt, drawing with yarn, fabric collages and fabric sculptures. The choice of material in each artwork is intentionally intertwined with the meaning, adding layers of symbolism.\u003c/p>\n\u003cfigure id=\"attachment_13929434\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DSCF2331.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13929434\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DSCF2331-1020x1002.jpg\" alt=\"\" width=\"640\" height=\"629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2331-1020x1002.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2331-800x786.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2331-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2331-768x755.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2331-1536x1509.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2331-2048x2012.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2331-1920x1886.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erika Diamond, ‘Overshot Safety Blanket (lapghan),’ 2018. Bulletproof Kevlar thread, acrylic and linen yarn. 45″ x 35″. Collection of San Jose Museum of Quilts \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This deliberate intertwining of material and message permeates \u003cem>Overshot Safety Blanket\u003c/em>, by Erika Diamond. Created in response to the \u003ca href=\"https://onepulsefoundation.org/onepulse-foundation-memorial/\">Pulse\u003c/a> nightclub massacre, the piece comments powerfully on queer visibility and safety with its use of Kevlar, the material used for bulletproof vests.\u003c/p>\n\u003cfigure id=\"attachment_13929450\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DSCF2667-Edit-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13929450\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DSCF2667-Edit-1020x708.jpg\" alt=\"\" width=\"640\" height=\"444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2667-Edit-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2667-Edit-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2667-Edit-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2667-Edit-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2667-Edit-1536x1066.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2667-Edit-2048x1421.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2667-Edit-1920x1332.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy, “Black Rainbow,” 2017. Crocheted synthetic and human hair, artist’s hair, LED light strip, and frame. 10 x 15 x 5 feet. \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland artist Angela Hennessy’s colossal crocheted work, titled \u003cem>Black Rainbow, \u003c/em>incorporates hair, traditionally associated with mourning, as a signifier of cultural and personal identity, further enhanced by the intimate process of crochet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Each artist’s dedication to their craft shines through in endless crocheting, weaving, sewing and meticulous work at the loom. The artworks evoke a range of emotions, from heart-wrenching narratives to humorous, celebratory and even spiritual expressions.\u003c/p>\n\u003cfigure id=\"attachment_13929449\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Brackens-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13929449\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Brackens-1020x873.jpg\" alt=\"\" width=\"640\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Brackens-1020x873.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Brackens-800x685.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Brackens-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Brackens-768x657.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Brackens-1536x1315.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Brackens-2048x1753.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Brackens-1920x1644.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Diedrick Brackens, ‘summer somewhere (for Danez),’ 2020. Woven cotton and acrylic yarn, 100” x 105”. \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Diedrick Brackens’ stunning \u003cem>summer somewhere (for Danez),\u003c/em> draws inspiration from Danez Smith’s poignant \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/58645/from-summer-somewhere\">poem\u003c/a>. Together, the poem and Brackens’ weaving embark on an exploration of the experiences of Black and brown men who have sex with men, delving into the profound impact of HIV/AIDS on their lives. The solitary figure depicted evokes imagery reminiscent of William Blake’s haunting \u003cem>A Negro Hung Alive by the Ribs to a Gallows,\u003c/em> or the evocative visuals conjured by Billie Holiday’s iconic song, \u003cem>Strange Fruit.\u003c/em> However, Brackens’ artwork goes beyond these dark historical allusions and embraces the radiance of the sun and the fullness of the Tree of Life, symbolizing transcendence and exultation in the face of adversity.\u003c/p>\n\u003cp>Beyond their inherent LGBTQ themes, these artworks possess a universal quality — an “otherness,” as Chaich describes it — that has the power to stir empathy in all viewers. The artists skillfully weave storytelling into their fine art objects, inviting introspection and emotional engagement.\u003c/p>\n\u003cfigure id=\"attachment_13929425\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DSCF2555-Edit-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13929425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DSCF2555-Edit-1020x680.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2555-Edit-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2555-Edit-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2555-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2555-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2555-Edit-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2555-Edit-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2555-Edit-1920x1280.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist Nathan Vincent, ‘Locker Room,’ 2011. Lion Brand yarn over Styrofoam and wood structure. 113″ x 209″ x 190.” \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the opening reception, a viewer shared with artist Nathan Vincent that his installation, \u003cem>Locker Room\u003c/em>, stirred up feelings of anxiety reminiscent of their high school experience. Chaich agrees that Vincent’s life-sized crocheted lockers, benches, urinals and showers might invite intensely personal reflections for viewers, especially aorund themes of inclusion, attraction and repulsion. “The gendered nature of locker rooms can raise thought-provoking questions about safety, potential for violence and even eroticism,” says Chaich.\u003c/p>\n\u003cp>Race, gender, sexuality and class all play a role in shaping one’s identity, and these factors are present throughout the exhibition, interwoven in intricate ways, challenging the viewer to think beyond simplistic labels.\u003cstrong> \u003c/strong>In a landscape marred by escalating violence and uncertainty for the LGBTQ community, the exhibition captures the spirit of the times, and themes of hope and healing alongside collective and individual trauma feel more resonant than ever.\u003c/p>\n\u003cp>Chaich’s curation makes space for it all. Over the past few decades, he notes, there has been a remarkable expansion in our language surrounding queerness, enabling a broader range of self-expression and identification. “The celebration of queer culture, and embracing LGBTQIA identities, has fostered a sense of belonging and unity within our community and among our allies,” he says. “However, it is crucial to acknowledge the recent setbacks and challenges that persist.”\u003c/p>\n\u003cfigure id=\"attachment_13929426\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DSCF2324-Edit-2-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13929426\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DSCF2324-Edit-2-1020x1167.jpg\" alt=\"\" width=\"640\" height=\"732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2324-Edit-2-1020x1167.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2324-Edit-2-800x915.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2324-Edit-2-160x183.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2324-Edit-2-768x878.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2324-Edit-2-1343x1536.jpg 1343w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2324-Edit-2-1791x2048.jpg 1791w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DSCF2324-Edit-2-1920x2196.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mikki Yamashiro, ‘Take Me to Your Leader,’ 2018. Acrylic, Yarn. 38″ x 26″. \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That gets to the heart of why \u003cem>Queer Threads\u003c/em> is such a powerful and thought-provoking exhibition. It speaks to the ongoing struggles and triumphs of the queer community. It celebrates the beauty and diversity of queer culture while also highlighting the ongoing fight for acceptance and representation.\u003c/p>\n\u003cp>“As queer people we have this resilience and industriousness, and creativity and spirit, and a kind of vibrancy, to really fight forward,” says Chaich.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Queer Threads’ is on view at the San Jose Museum of Quilts and Textiles through Aug. 20, 2023.\u003c/em> \u003cem>\u003ca href=\"https://www.sjquiltmuseum.org/\"> Tickets and more info \u003c/a>\u003ca href=\"https://www.sjquiltmuseum.org/\">here\u003c/a>. The museum will host a drag show at 7:30 p.m. on June 2 as part of the SubZERO Festival. \u003ca href=\"https://www.subzerofestival.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929422/queer-threads-weaves-together-lgbtq-trauma-hope-and-resilience","authors":["191"],"categories":["arts_1","arts_835","arts_70"],"tags":["arts_11374","arts_5684","arts_10278","arts_3226","arts_3152","arts_4606","arts_5253"],"featImg":"arts_13929653","label":"arts"},"arts_13916333":{"type":"posts","id":"arts_13916333","meta":{"index":"posts_1591205157","site":"arts","id":"13916333","score":null,"sort":[1658340038000]},"guestAuthors":[],"slug":"if-cities-could-dance-austin-salsa","title":"A Queer Dance Love Story: How This Non-Binary Couple Leads—and Follows—in Salsa","publishDate":1658340038,"format":"video","headTitle":"A Queer Dance Love Story: How This Non-Binary Couple Leads—and Follows—in Salsa | KQED","labelTerm":{"term":1725,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>When salsa dancers Audrey Guerrero and Angie Egea first got together, their love opened up new expressions and possibilities both on the dance floor and off. “I probably wouldn’t be out if I hadn’t met my wife,” says Guerrero, who married Egea in 2019.\u003c/p>\n\u003cp>For Egea, creating art together gives the couple power and strength to “step into who we really are.”\u003c/p>\n\u003cp>Part of a new generation of dancers embracing fluidity of gender roles in salsa dancing, the non-binary couple performs and teaches classes in Austin, Texas. They are known in the dance community as \u003ca href=\"https://www.instagram.com/angieandaudrey/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Angie & Audrey\u003c/a>, a.k.a. “The Kueen & Queen of Non-Binary Afro Latin Dance.”\u003c/p>\n\u003cp>The couple take turns leading and following, and often switch roles within a dance. “There is this connection that you have to build with your partner, you have to be vulnerable, open to connecting,” says Egea. “It almost creates this bubble of energy, and that’s exhilarating.”\u003c/p>\n\u003cfigure id=\"attachment_13916375\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/image00001-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/image00001-800x1067.jpeg\" alt=\"two salsa dancers perform in light clothes on a bridge against the backdrop of Austin, Texas, while a videographer films\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-scaled.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Salsa dancers Audrey Guerrero and Angie Egea dance on the Congress Avenue Bridge in Austin while Chafic Saad films. \u003ccite>(Rayna Stackhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2008, Egea emigrated from Colombia to Boston to pursue a professional dance career, and started out dancing with a male partner; she wasn’t out about her queer identity in dance circles. But when she met Guerrero—who had emigrated there from the Dominican Republic—the couple decided to incorporate their queer identities on the dance floor. Initially, they say, they were met with resistance from members of the dance community.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That wasn’t too surprising, says Egea, given the machismo and the heteronormative ideology of the scene: it’s still deeply entrenched in salsa that a man leads and a woman follows. “People really just want to protect the idea that salsa is binary,” adds Guerrero. “Traditionally, it has been portrayed that way for hundreds and hundreds of years.”\u003c/p>\n\u003cp>Eager to build a queer dance community, the couple moved to Austin, Texas, in 2021, where they connected with local dance leaders like Monica Caivano, founder of the dance studio \u003ca href=\"https://www.esquinatango.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Esquina Tango Austin\u003c/a>. “It’s a goal of ours to break down stereotypes and make an all-inclusive space,” says Caivano, who provided studio space for Angie and Audrey to teach workshops.\u003c/p>\n\u003cp>So far, the couple has performed together in six salsa congresses, multi-day events that offer workshops, performances and competitions. “When you go to the salsa congresses, you always see the standard routines,” adds Caivano. “The women are going to have all the sexy dresses and the men are going to have the pants; it’s going to be your standard routine. So it’s good that they are going out there and mixing it up.”\u003c/p>\n\u003cfigure id=\"attachment_13916450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916450 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/AngieAudreyWP-800x450.jpg\" alt=\"two dancers in light blue bodysuits embrace in the middle of a dance on an outdoor plaza\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Salsa dancers Audrey Guerrero and Angie Egea embrace while dancing near the Capitol Building in Austin. \u003ccite>(Oliver Vo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.thumbtack.com/tx/austin/dance-lessons/robbie-sky/service/299616997076566149\" target=\"_blank\" rel=\"noopener noreferrer\">Robbie Sky\u003c/a>, who has been teaching Latin dance in Austin since 2011, met the couple at a retreat in 2015. Sky says the classes they teach provide lessons that go beyond the dance floor. “I think it’s really important to have classes where people are making choices on the role they want to have, not only in dance but in their life,” says Sky.\u003c/p>\n\u003cp>At the end of every Audrey and Angie performance, the two dancers end not just with a bow, but also a kiss. “We want to create a community and a space where people feel like they don’t have to fit into a box to be a dancer—[where] they feel accepted, seen, and they can express themselves, regardless of politics,” says Guerrero.\u003c/p>\n\u003cp>Watch Audrey and Angie dance in front of iconic Austin sites like the Capitol Building, locally beloved murals, the Love-Hate sculpture and on the Congress Avenue Bridge. \u003cem>— Text by Manjula Varghese and Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"Austin dancers Angie and Audrey are challenging the 'machismo' in traditional Afro-Latin dance.","status":"publish","parent":0,"modified":1705006592,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":713},"headData":{"title":"A Queer Dance Love Story: How This Non-Binary Couple Leads—and Follows—in Salsa | KQED","description":"Austin dancers Angie and Audrey are challenging the 'machismo' in traditional Afro-Latin dance.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Queer Dance Love Story: How This Non-Binary Couple Leads—and Follows—in Salsa","datePublished":"2022-07-20T18:00:38.000Z","dateModified":"2024-01-11T20:56:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://www.youtube.com/watch?v=_tFMmU9SFGI","pbsMediaId":"3071273582","sticky":false,"WpOldSlug":"a-queer-dance-love-story-how-this-non-binary-couple-leads-and-follows-in-salsa","nprByline":"Christina Ramirez and Manjula Varghese","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13916333/if-cities-could-dance-austin-salsa","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>When salsa dancers Audrey Guerrero and Angie Egea first got together, their love opened up new expressions and possibilities both on the dance floor and off. “I probably wouldn’t be out if I hadn’t met my wife,” says Guerrero, who married Egea in 2019.\u003c/p>\n\u003cp>For Egea, creating art together gives the couple power and strength to “step into who we really are.”\u003c/p>\n\u003cp>Part of a new generation of dancers embracing fluidity of gender roles in salsa dancing, the non-binary couple performs and teaches classes in Austin, Texas. They are known in the dance community as \u003ca href=\"https://www.instagram.com/angieandaudrey/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Angie & Audrey\u003c/a>, a.k.a. “The Kueen & Queen of Non-Binary Afro Latin Dance.”\u003c/p>\n\u003cp>The couple take turns leading and following, and often switch roles within a dance. “There is this connection that you have to build with your partner, you have to be vulnerable, open to connecting,” says Egea. “It almost creates this bubble of energy, and that’s exhilarating.”\u003c/p>\n\u003cfigure id=\"attachment_13916375\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/image00001-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/image00001-800x1067.jpeg\" alt=\"two salsa dancers perform in light clothes on a bridge against the backdrop of Austin, Texas, while a videographer films\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-scaled.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Salsa dancers Audrey Guerrero and Angie Egea dance on the Congress Avenue Bridge in Austin while Chafic Saad films. \u003ccite>(Rayna Stackhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2008, Egea emigrated from Colombia to Boston to pursue a professional dance career, and started out dancing with a male partner; she wasn’t out about her queer identity in dance circles. But when she met Guerrero—who had emigrated there from the Dominican Republic—the couple decided to incorporate their queer identities on the dance floor. Initially, they say, they were met with resistance from members of the dance community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That wasn’t too surprising, says Egea, given the machismo and the heteronormative ideology of the scene: it’s still deeply entrenched in salsa that a man leads and a woman follows. “People really just want to protect the idea that salsa is binary,” adds Guerrero. “Traditionally, it has been portrayed that way for hundreds and hundreds of years.”\u003c/p>\n\u003cp>Eager to build a queer dance community, the couple moved to Austin, Texas, in 2021, where they connected with local dance leaders like Monica Caivano, founder of the dance studio \u003ca href=\"https://www.esquinatango.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Esquina Tango Austin\u003c/a>. “It’s a goal of ours to break down stereotypes and make an all-inclusive space,” says Caivano, who provided studio space for Angie and Audrey to teach workshops.\u003c/p>\n\u003cp>So far, the couple has performed together in six salsa congresses, multi-day events that offer workshops, performances and competitions. “When you go to the salsa congresses, you always see the standard routines,” adds Caivano. “The women are going to have all the sexy dresses and the men are going to have the pants; it’s going to be your standard routine. So it’s good that they are going out there and mixing it up.”\u003c/p>\n\u003cfigure id=\"attachment_13916450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916450 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/AngieAudreyWP-800x450.jpg\" alt=\"two dancers in light blue bodysuits embrace in the middle of a dance on an outdoor plaza\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Salsa dancers Audrey Guerrero and Angie Egea embrace while dancing near the Capitol Building in Austin. \u003ccite>(Oliver Vo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.thumbtack.com/tx/austin/dance-lessons/robbie-sky/service/299616997076566149\" target=\"_blank\" rel=\"noopener noreferrer\">Robbie Sky\u003c/a>, who has been teaching Latin dance in Austin since 2011, met the couple at a retreat in 2015. Sky says the classes they teach provide lessons that go beyond the dance floor. “I think it’s really important to have classes where people are making choices on the role they want to have, not only in dance but in their life,” says Sky.\u003c/p>\n\u003cp>At the end of every Audrey and Angie performance, the two dancers end not just with a bow, but also a kiss. “We want to create a community and a space where people feel like they don’t have to fit into a box to be a dancer—[where] they feel accepted, seen, and they can express themselves, regardless of politics,” says Guerrero.\u003c/p>\n\u003cp>Watch Audrey and Angie dance in front of iconic Austin sites like the Capitol Building, locally beloved murals, the Love-Hate sculpture and on the Congress Avenue Bridge. \u003cem>— Text by Manjula Varghese and Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13916333/if-cities-could-dance-austin-salsa","authors":["byline_arts_13916333"],"programs":["arts_1725"],"series":["arts_4422"],"categories":["arts_1","arts_966"],"tags":["arts_879","arts_10278","arts_4522","arts_4524","arts_3226","arts_3152"],"featImg":"arts_13916450","label":"arts_1725"},"arts_13915486":{"type":"posts","id":"arts_13915486","meta":{"index":"posts_1591205157","site":"arts","id":"13915486","score":null,"sort":[1656531968000]},"guestAuthors":[],"slug":"seandorseydance","title":"Transgender Dancer Sean Dorsey Dreams of a Limitless Future for Trans and Queer Communities","publishDate":1656531968,"format":"video","headTitle":"Transgender Dancer Sean Dorsey Dreams of a Limitless Future for Trans and Queer Communities | KQED","labelTerm":{"term":1725,"site":"arts"},"content":"\u003cp>\u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>As a choreographer and as a trans person, Sean Dorsey felt irresistibly drawn to San Francisco. “It was this deep gut calling,” he says. “For so many trans and queer folks, San Francisco is the only place that we can live.” And yet, the city he moved to in the early 2000s was not the city he had envisioned.\u003c/p>\n\u003cp>“I thought, ‘This is it, I’m finally going to live in this city and meet the hundreds of other \u003cspan style=\"font-weight: 400\">transgender modern dance choreographers \u003c/span>\u003cspan style=\"font-weight: 400\">who must be living here,’” he recalls. “And there were none. There were trans hip-hop artists, visual artists, musicians, playwrights and writers. But when it came to trans modern dance choreographers or dancers, it was like crickets. And nobody was putting trans artists onstage.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg\" alt=\"Four dancers in magenta gowns perform modern dance choreography against pillars at a cliff overlooking the Pacific ocean in San Francisco, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol Simonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dorsey spent the next two decades championing trans and queer performing arts in the city, hand in hand with his life partner, the musician, filmmaker and transgender activist Shawna Virago. Their \u003ca href=\"https://www.freshmeatfest.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Festival\u003c/a> is in its 21st season of showcasing trans and queer performance; Sean Dorsey Dance has toured innovative modern dance to more than 30 cities in the U.S. and abroad; and accolades have arrived in the form of prestigious national awards, commissions and grants.\u003c/p>\n\u003cp>And while San Francisco has offered Dorsey fertile ground for artmaking, and a community hungry to see itself represented onstage, he has returned the favor by enriching the city’s awareness of itself. “San Francisco is this incredible epicenter of trans and queer history of resistance,” he says. New York City’s Stonewall gets all the glory, but it was in the Tenderloin at \u003ca href=\"https://www.youtube.com/watch?v=G-WASW9dRBU\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria \u003c/a>where drag queens and trans women of color first resisted police harassment and rioted for their rights, in August 1966—nearly three years before Stonewall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dorsey unearthed the city’s deep, rich, influential legacy of trans and queer lives in an epic dance-theater trilogy of \u003ci>\u003cspan style=\"font-weight: 400\">Uncovered: The Diary Project\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Secret History of Love\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Missing Generation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Theatrical, humorous, deeply compassionate and beautifully danced, those works made space for people of all identities to gather and truly see each other. “My goal is to make dances that people can relate to deeply and are transformed by in some way,” he says. “I want all of us to be breathing together, dreaming together, sharing compassion and story and embodiment.”\u003c/span>\u003c/p>\n\u003cp>That sense of hope is at the heart of Dorsey’s new work, \u003ca href=\"https://seandorseydance.com/works/the-lost-art-of-dreaming/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. It’s also the impetus for a new, forward-looking phase of Dorsey’s artistic life, focused on encouraging trans and nonbinary people to claim their right to a life they love. “So many trans people are told that we won’t have a future,” Dorsey says. “So many of us are discouraged from dreaming, are discouraged from imagining, finding love, finding community. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> invites us all to imagine expansive futures that are joyful and liberated, and in which we lift each other up with love.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg\" alt=\"Four dancers in blue and white gowns pose on a concrete sculpture resembling a bed on a grassy lawn situated near the San Francisco Bay\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol SImonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003cem>The Lost Art of\u003c/em> Dreaming\u003c/i>\u003cspan style=\"font-weight: 400\"> proposes a new paradigm through the embodied, kinesthetic art of dance. Dorsey’s modern choreography melds with the expressive dancers, spectacular couture costumes and an uninhibited, enthusiastic embrace of joy. Watching, you can sense the connection among the artists and between them and the city itself. “San Francisco is like a magical sanctuary,” Dorsey says. “It whispers to us from all across the country and around the world. Sean Dorsey Dance is by, of and for San Francisco. In this city, I stand on the shoulders of my Transcestors.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg\" alt=\"Four members of Sean Dorsey Dance are smiling and posing with filmmaker Lindsay Gauthier at the top of Twin Peaks with San Francisco's skyline behind them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey and his dance company pose with filmmaker Lindsay Gauthier at Twin Peaks in San Francisco on May 12, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Experience Dorsey and members of Sean Dorsey Dance perform excerpts from \u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in some of San Francisco’s most inspiring settings—\u003c/span>\u003cspan style=\"font-weight: 400\">Twin Peaks, Hillpoint Park, and the Cliff House above Ocean Beach– \u003c/span>\u003cspan style=\"font-weight: 400\">then go see them in person! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i> \u003ca href=\"https://seandorseydance.com/calendar/upcoming-events/\">\u003cspan style=\"font-weight: 400\">premieres\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> November 17–20 at Z Space. \u003cem>– Written by Claudia Bauer\u003c/em>\u003cbr>\n\u003c/span>\u003c/p>\n\n","blocks":[],"excerpt":"As anti-trans attacks escalate, an audacious dance work encourages LGBTQ+ people to claim their right to a life they love.","status":"publish","parent":0,"modified":1705006672,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":792},"headData":{"title":"Transgender Dancer Sean Dorsey Dreams of a Limitless Future for Trans and Queer Communities | KQED","description":"Sean Dorsey has spent the last two decades championing trans and queer performing arts in San Francisco, with the Fresh Meat Festival he founded, showcasing trans and queer performance. And he has toured his own innovative modern dance to more than 30 cities in the U.S. and abroad.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"Sean Dorsey has spent the last two decades championing trans and queer performing arts in San Francisco, with the Fresh Meat Festival he founded, showcasing trans and queer performance. And he has toured his own innovative modern dance to more than 30 cities in the U.S. and abroad.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Transgender Dancer Sean Dorsey Dreams of a Limitless Future for Trans and Queer Communities","datePublished":"2022-06-29T19:46:08.000Z","dateModified":"2024-01-11T20:57:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://youtu.be/HnP2yjqrZDg","pbsMediaId":"3071277360","sticky":false,"nprByline":"Lindsay Gauthier","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13915486/seandorseydance","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>As a choreographer and as a trans person, Sean Dorsey felt irresistibly drawn to San Francisco. “It was this deep gut calling,” he says. “For so many trans and queer folks, San Francisco is the only place that we can live.” And yet, the city he moved to in the early 2000s was not the city he had envisioned.\u003c/p>\n\u003cp>“I thought, ‘This is it, I’m finally going to live in this city and meet the hundreds of other \u003cspan style=\"font-weight: 400\">transgender modern dance choreographers \u003c/span>\u003cspan style=\"font-weight: 400\">who must be living here,’” he recalls. “And there were none. There were trans hip-hop artists, visual artists, musicians, playwrights and writers. But when it came to trans modern dance choreographers or dancers, it was like crickets. And nobody was putting trans artists onstage.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg\" alt=\"Four dancers in magenta gowns perform modern dance choreography against pillars at a cliff overlooking the Pacific ocean in San Francisco, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol Simonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dorsey spent the next two decades championing trans and queer performing arts in the city, hand in hand with his life partner, the musician, filmmaker and transgender activist Shawna Virago. Their \u003ca href=\"https://www.freshmeatfest.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Festival\u003c/a> is in its 21st season of showcasing trans and queer performance; Sean Dorsey Dance has toured innovative modern dance to more than 30 cities in the U.S. and abroad; and accolades have arrived in the form of prestigious national awards, commissions and grants.\u003c/p>\n\u003cp>And while San Francisco has offered Dorsey fertile ground for artmaking, and a community hungry to see itself represented onstage, he has returned the favor by enriching the city’s awareness of itself. “San Francisco is this incredible epicenter of trans and queer history of resistance,” he says. New York City’s Stonewall gets all the glory, but it was in the Tenderloin at \u003ca href=\"https://www.youtube.com/watch?v=G-WASW9dRBU\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria \u003c/a>where drag queens and trans women of color first resisted police harassment and rioted for their rights, in August 1966—nearly three years before Stonewall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dorsey unearthed the city’s deep, rich, influential legacy of trans and queer lives in an epic dance-theater trilogy of \u003ci>\u003cspan style=\"font-weight: 400\">Uncovered: The Diary Project\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Secret History of Love\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Missing Generation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Theatrical, humorous, deeply compassionate and beautifully danced, those works made space for people of all identities to gather and truly see each other. “My goal is to make dances that people can relate to deeply and are transformed by in some way,” he says. “I want all of us to be breathing together, dreaming together, sharing compassion and story and embodiment.”\u003c/span>\u003c/p>\n\u003cp>That sense of hope is at the heart of Dorsey’s new work, \u003ca href=\"https://seandorseydance.com/works/the-lost-art-of-dreaming/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. It’s also the impetus for a new, forward-looking phase of Dorsey’s artistic life, focused on encouraging trans and nonbinary people to claim their right to a life they love. “So many trans people are told that we won’t have a future,” Dorsey says. “So many of us are discouraged from dreaming, are discouraged from imagining, finding love, finding community. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> invites us all to imagine expansive futures that are joyful and liberated, and in which we lift each other up with love.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg\" alt=\"Four dancers in blue and white gowns pose on a concrete sculpture resembling a bed on a grassy lawn situated near the San Francisco Bay\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol SImonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003cem>The Lost Art of\u003c/em> Dreaming\u003c/i>\u003cspan style=\"font-weight: 400\"> proposes a new paradigm through the embodied, kinesthetic art of dance. Dorsey’s modern choreography melds with the expressive dancers, spectacular couture costumes and an uninhibited, enthusiastic embrace of joy. Watching, you can sense the connection among the artists and between them and the city itself. “San Francisco is like a magical sanctuary,” Dorsey says. “It whispers to us from all across the country and around the world. Sean Dorsey Dance is by, of and for San Francisco. In this city, I stand on the shoulders of my Transcestors.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg\" alt=\"Four members of Sean Dorsey Dance are smiling and posing with filmmaker Lindsay Gauthier at the top of Twin Peaks with San Francisco's skyline behind them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey and his dance company pose with filmmaker Lindsay Gauthier at Twin Peaks in San Francisco on May 12, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Experience Dorsey and members of Sean Dorsey Dance perform excerpts from \u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in some of San Francisco’s most inspiring settings—\u003c/span>\u003cspan style=\"font-weight: 400\">Twin Peaks, Hillpoint Park, and the Cliff House above Ocean Beach– \u003c/span>\u003cspan style=\"font-weight: 400\">then go see them in person! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i> \u003ca href=\"https://seandorseydance.com/calendar/upcoming-events/\">\u003cspan style=\"font-weight: 400\">premieres\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> November 17–20 at Z Space. \u003cem>– Written by Claudia Bauer\u003c/em>\u003cbr>\n\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13915486/seandorseydance","authors":["byline_arts_13915486"],"programs":["arts_1725"],"series":["arts_4422"],"categories":["arts_1","arts_835"],"tags":["arts_11374","arts_2944","arts_7409","arts_5142","arts_879","arts_11238","arts_10278","arts_13515","arts_2640","arts_4522","arts_4524","arts_3226","arts_3152","arts_12081","arts_7408","arts_5158","arts_12080","arts_1146","arts_1020","arts_4204","arts_702","arts_1007"],"featImg":"arts_13915529","label":"arts_1725"},"arts_13885940":{"type":"posts","id":"arts_13885940","meta":{"index":"posts_1591205157","site":"arts","id":"13885940","score":null,"sort":[1599608473000]},"guestAuthors":[],"slug":"if-cities-could-dance-atlanta","title":"Meet the Team Taking J-Setting from Underground Clubs to the Main Stage","publishDate":1599608473,"format":"video","headTitle":"Meet the Team Taking J-Setting from Underground Clubs to the Main Stage | KQED","labelTerm":{"term":4422,"site":"arts"},"content":"\u003cp>\u003cem>Editor’s note: This episode was filmed under strict guidelines due to the coronavirus pandemic. A trained COVID-19 safety specialist was on-set and careful parameters were followed with the dancers, who are in a “quarantine pod” together, practicing recommended guidelines including regular testing, temperature checks, constant communication and group accountability. Atlanta is currently experiencing a surge in COVID-19 cases and we hope the community remains safe at home until it’s time to dance together again.\u003c/em>\u003c/p>\n\u003cp>\u003cem>KQED Arts’ award-winning video series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is back for a third season! In each episode, meet dancers across the country representing their city’s signature moves. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ICCD_307_Atlanta_ContentDescription.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download Content Description.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>If there’s one comfort the 11 members of Dance Champz of Atlanta have found during the coronavirus pandemic, it’s that they can still dance together. “The pandemic has affected the LGBTQ community and the J-Setting community tremendously because we’re kind of left in limbo,” team founder and captain \u003ca href=\"https://www.instagram.com/live_w_lee/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Leland Thorpe\u003c/a> says. “So when COVID came about, we decided we were going to form a quarantine pod.”\u003c/p>\n\u003cp>“We all love to dance and we all wanted to survive this,” he explains.\u003c/p>\n\u003cp>This practical adaptation in the midst of a global health crisis is emblematic of the group’s approach to J-Setting. “My team is very hard core,” Thorpe says. When they compete on the dance floor with their sharp, synchronized movements set to the beats of Baltimore club-style music, the battles are intense.\u003c/p>\n\u003cfigure id=\"attachment_13885968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/DanceChampz.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13885968 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/DanceChampz-800x450.jpg\" alt='Three Black dancers who are members of Dance Champz of Atlanta pose in matching black velvet outfits in front a mosaic art piece title \"The Fiddler\" that sits on a wall behing them.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Darrius Stephens, Leland Thorpe and Ter’Schard Harris of Dance Champs of Atlanta pose in front of Steve Seaberg’s mosaic titled “The Fiddler” in Cabbagetown neighborhood in Atlanta, GA. During the pandemic, the members of Dance Champz of Atlanta formed a pod. The members regularly check their temperatures and test for COVID-19. \u003ccite>(Photo by Frederick Taylor and Yusef Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We put in a lot of work,” team member \u003ca href=\"http://voyageatl.com/interview/meet-darrius-stephens-dance-champz-atlanta-college-park/\" target=\"_blank\" rel=\"noopener noreferrer\">Darrius Stephens\u003c/a> confirms. The Dance Champz rehearse four days a week, sometimes up to four or five hours a day. When a performance is coming up, Stephens says, “We rehearse almost every day up into that performance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part of their intensity comes from a desire to share their take on J-Setting—one influenced by jazz, modern dance, hip-hop and ballet—with ever-wider audiences. From its very start, J-Setting was a dance born out of resistance to the status quo, and a need for modern flair. Dance Champz are simply carrying that spirit out into the streets of Atlanta.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/1jPRmzJQ2247lWRXoWl8q6\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The story of J-Setting starts on the campus of Jackson State University in 1970. Shirley Middleton, a former majorette with JSU’s marching band (now known as \u003ca href=\"http://www.sonicboomofthesouth.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the Sonic Boom of the South\u003c/a>) met with the university president and requested the majorettes be permitted to “put down their batons” and start dancing to more contemporary music. (At the time, that meant James Brown’s “Make it Funky” and “Hot Pants.”) Middleton established the Prancing Jaycettes, who later became the Prancing J-Settes, and the danceline thrives to this day, known for their marching steps, explosive moves and tightly executed routines. Their signature style has even entered mainstream choreography, most notably \u003ca href=\"https://youtu.be/4m1EFMoRFvY\" target=\"_blank\" rel=\"noopener noreferrer\">Beyoncé’s “Single Ladies”\u003c/a> music video.\u003c/p>\n\u003cfigure id=\"attachment_13885960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/3P8A9445.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885960\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/3P8A9445-800x533.jpg\" alt=\"The Prancing J-Settes, the majorettes of the Jackson State University, pose in matching silver bodysuits on a football field.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Prancing J-Settes is the official name of the Jackson State University majorettes, who dance alongside the Jackson State University marching band, the Sonic Boom of the South. \u003ccite>(Courtesy of Deontae Williams/University Communications)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time it was filling stadiums, J-Setting was going underground. “Wherever there was a marching band,” Thorpe explains, “there were gay men who wanted to do this—not just their moves but their costumes.” J-Setting became a fixture in the LGBTQ+ clubs that surrounded the HBCUs where J-Setting was performed; routines seen at football games would get repeated on the dance floor that same weekend. The “Super Bowl” of the underground J-Setting scene was in competitions at Atlanta’s now-closed \u003ca href=\"https://thegavoice.com/news/atlanta/catching-phillip-boone-owner-founder-traxx/\" target=\"_blank\" rel=\"noopener noreferrer\">Traxx Nightclub\u003c/a>, Thorpe remembers.\u003c/p>\n\u003cfigure id=\"attachment_13885966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/O9T5466.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885966\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/O9T5466-800x1200.jpg\" alt=\"A close-up of a Prancing J-Settes dancer posing in a silver bodysuit with a fringe, nude fishnet stcokings and silver sequin cuffs on her wrists.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A member of the Prancing J-Settes. \u003ccite>(Courtesy of Charles A. Smith/University Communications)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dance style requires militaristic precision, but it’s also about joy—about knowing oneself and expressing that self-knowledge through dance. (And shiny, sparkly, modified majorette outfits.) Another freeing element of J-Setting comes from its ability to brush away gender binaries with one buck of the body. “Being able to go in and out of femininity and masculinity” is one of the key elements, Stephens says. And for Stephens personally, the dance allows him to defy outside expectations about what his own body can and can’t do.\u003c/p>\n\u003cp>J-Setting is still emerging as an art form, and Thorpe wants to push its boundaries to incorporate other dance styles he grew up performing on the sly in Detroit. He’s interested in challenging some of the relatively new conventions of the male J-Setting scene, both in terms of team size and its membership (Dance Champz has two female dancers in its lineup). Beyond the J-Setting community, the team also hopes for wider acceptance of LGBTQ+ people within the Black community. While Dance Champz have participated in recent Black Lives Matter marches and rallies, Thorpe says he still feels the ostracization that characterized the early days of the underground scene. “I’m considered gay before I’m Black,” Thorpe says. “We don’t always feel part of our Black community.”\u003c/p>\n\u003cp>All their hard work is paying off in terms of local recognition. Dance Champz are the only J-Sette team that performs as part of Atlanta’s Pride celebrations. Maintaining their training regimen during the pandemic, Dance Champz are working towards the day when they can gather once again, to share their skills with both fellow J-Setters and the city of Atlanta. More conservative than many in the name of COVID-19 safety, they’re skipping the club scene for now, forgoing the J-Sette battles at Pride over Labor day weekend, and mainly practicing outdoors.\u003c/p>\n\u003cfigure id=\"attachment_13885986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-800x422.jpg\" alt='Members of Dance Champz of Atlanta pose in red customized jerseys that read \"Champz Atlanta\". They are wearing fabric masks that cover the lower half of their faces. This photo is taken at sunset in Piedmont Park in Atlanta, GA.' width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-2048x1080.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-1920x1013.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">During the pandemic, the members of Dance Champz of Atlanta formed a pod. The members regularly check their temperatures and test for COVID-19. \u003ccite>(Photo by Frederick Taylor and Yusef Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have something to prove,” Thorpe says. “We’re taking advantage of this time to ourselves to get ourselves on the up and up. So when everything opens up, we’re ready to perform. We’re ready to be out there. We’re ready to show our faces.” \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-atlanta/index.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n","blocks":[],"excerpt":"The Dance Champz of Atlanta are evolving this dance beyond its roots in HBCUs and LGBTQ+ club battles.","status":"publish","parent":0,"modified":1705020168,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-atlanta/index.html"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1158},"headData":{"title":"Meet the Team Taking J-Setting from Underground Clubs to the Main Stage | KQED","description":"The acrobatic dance has origins with HBCU marching bands, and now is popular in LGBTQ+ clubs, but these dancers don’t want to be pigeonholed under any label.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"The acrobatic dance has origins with HBCU marching bands, and now is popular in LGBTQ+ clubs, but these dancers don’t want to be pigeonholed under any label.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Meet the Team Taking J-Setting from Underground Clubs to the Main Stage","datePublished":"2020-09-08T23:41:13.000Z","dateModified":"2024-01-12T00:42:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://youtu.be/sc8DeElgwGw","pbsMediaId":"3046904064","sticky":false,"nprByline":"Frederick Taylor, Charlotte Buchen Khadra","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13885940/if-cities-could-dance-atlanta","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: This episode was filmed under strict guidelines due to the coronavirus pandemic. A trained COVID-19 safety specialist was on-set and careful parameters were followed with the dancers, who are in a “quarantine pod” together, practicing recommended guidelines including regular testing, temperature checks, constant communication and group accountability. Atlanta is currently experiencing a surge in COVID-19 cases and we hope the community remains safe at home until it’s time to dance together again.\u003c/em>\u003c/p>\n\u003cp>\u003cem>KQED Arts’ award-winning video series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is back for a third season! In each episode, meet dancers across the country representing their city’s signature moves. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ICCD_307_Atlanta_ContentDescription.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download Content Description.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>If there’s one comfort the 11 members of Dance Champz of Atlanta have found during the coronavirus pandemic, it’s that they can still dance together. “The pandemic has affected the LGBTQ community and the J-Setting community tremendously because we’re kind of left in limbo,” team founder and captain \u003ca href=\"https://www.instagram.com/live_w_lee/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Leland Thorpe\u003c/a> says. “So when COVID came about, we decided we were going to form a quarantine pod.”\u003c/p>\n\u003cp>“We all love to dance and we all wanted to survive this,” he explains.\u003c/p>\n\u003cp>This practical adaptation in the midst of a global health crisis is emblematic of the group’s approach to J-Setting. “My team is very hard core,” Thorpe says. When they compete on the dance floor with their sharp, synchronized movements set to the beats of Baltimore club-style music, the battles are intense.\u003c/p>\n\u003cfigure id=\"attachment_13885968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/DanceChampz.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13885968 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/DanceChampz-800x450.jpg\" alt='Three Black dancers who are members of Dance Champz of Atlanta pose in matching black velvet outfits in front a mosaic art piece title \"The Fiddler\" that sits on a wall behing them.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Darrius Stephens, Leland Thorpe and Ter’Schard Harris of Dance Champs of Atlanta pose in front of Steve Seaberg’s mosaic titled “The Fiddler” in Cabbagetown neighborhood in Atlanta, GA. During the pandemic, the members of Dance Champz of Atlanta formed a pod. The members regularly check their temperatures and test for COVID-19. \u003ccite>(Photo by Frederick Taylor and Yusef Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We put in a lot of work,” team member \u003ca href=\"http://voyageatl.com/interview/meet-darrius-stephens-dance-champz-atlanta-college-park/\" target=\"_blank\" rel=\"noopener noreferrer\">Darrius Stephens\u003c/a> confirms. The Dance Champz rehearse four days a week, sometimes up to four or five hours a day. When a performance is coming up, Stephens says, “We rehearse almost every day up into that performance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part of their intensity comes from a desire to share their take on J-Setting—one influenced by jazz, modern dance, hip-hop and ballet—with ever-wider audiences. From its very start, J-Setting was a dance born out of resistance to the status quo, and a need for modern flair. Dance Champz are simply carrying that spirit out into the streets of Atlanta.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/1jPRmzJQ2247lWRXoWl8q6\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The story of J-Setting starts on the campus of Jackson State University in 1970. Shirley Middleton, a former majorette with JSU’s marching band (now known as \u003ca href=\"http://www.sonicboomofthesouth.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the Sonic Boom of the South\u003c/a>) met with the university president and requested the majorettes be permitted to “put down their batons” and start dancing to more contemporary music. (At the time, that meant James Brown’s “Make it Funky” and “Hot Pants.”) Middleton established the Prancing Jaycettes, who later became the Prancing J-Settes, and the danceline thrives to this day, known for their marching steps, explosive moves and tightly executed routines. Their signature style has even entered mainstream choreography, most notably \u003ca href=\"https://youtu.be/4m1EFMoRFvY\" target=\"_blank\" rel=\"noopener noreferrer\">Beyoncé’s “Single Ladies”\u003c/a> music video.\u003c/p>\n\u003cfigure id=\"attachment_13885960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/3P8A9445.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885960\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/3P8A9445-800x533.jpg\" alt=\"The Prancing J-Settes, the majorettes of the Jackson State University, pose in matching silver bodysuits on a football field.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Prancing J-Settes is the official name of the Jackson State University majorettes, who dance alongside the Jackson State University marching band, the Sonic Boom of the South. \u003ccite>(Courtesy of Deontae Williams/University Communications)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time it was filling stadiums, J-Setting was going underground. “Wherever there was a marching band,” Thorpe explains, “there were gay men who wanted to do this—not just their moves but their costumes.” J-Setting became a fixture in the LGBTQ+ clubs that surrounded the HBCUs where J-Setting was performed; routines seen at football games would get repeated on the dance floor that same weekend. The “Super Bowl” of the underground J-Setting scene was in competitions at Atlanta’s now-closed \u003ca href=\"https://thegavoice.com/news/atlanta/catching-phillip-boone-owner-founder-traxx/\" target=\"_blank\" rel=\"noopener noreferrer\">Traxx Nightclub\u003c/a>, Thorpe remembers.\u003c/p>\n\u003cfigure id=\"attachment_13885966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/O9T5466.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885966\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/O9T5466-800x1200.jpg\" alt=\"A close-up of a Prancing J-Settes dancer posing in a silver bodysuit with a fringe, nude fishnet stcokings and silver sequin cuffs on her wrists.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A member of the Prancing J-Settes. \u003ccite>(Courtesy of Charles A. Smith/University Communications)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dance style requires militaristic precision, but it’s also about joy—about knowing oneself and expressing that self-knowledge through dance. (And shiny, sparkly, modified majorette outfits.) Another freeing element of J-Setting comes from its ability to brush away gender binaries with one buck of the body. “Being able to go in and out of femininity and masculinity” is one of the key elements, Stephens says. And for Stephens personally, the dance allows him to defy outside expectations about what his own body can and can’t do.\u003c/p>\n\u003cp>J-Setting is still emerging as an art form, and Thorpe wants to push its boundaries to incorporate other dance styles he grew up performing on the sly in Detroit. He’s interested in challenging some of the relatively new conventions of the male J-Setting scene, both in terms of team size and its membership (Dance Champz has two female dancers in its lineup). Beyond the J-Setting community, the team also hopes for wider acceptance of LGBTQ+ people within the Black community. While Dance Champz have participated in recent Black Lives Matter marches and rallies, Thorpe says he still feels the ostracization that characterized the early days of the underground scene. “I’m considered gay before I’m Black,” Thorpe says. “We don’t always feel part of our Black community.”\u003c/p>\n\u003cp>All their hard work is paying off in terms of local recognition. Dance Champz are the only J-Sette team that performs as part of Atlanta’s Pride celebrations. Maintaining their training regimen during the pandemic, Dance Champz are working towards the day when they can gather once again, to share their skills with both fellow J-Setters and the city of Atlanta. More conservative than many in the name of COVID-19 safety, they’re skipping the club scene for now, forgoing the J-Sette battles at Pride over Labor day weekend, and mainly practicing outdoors.\u003c/p>\n\u003cfigure id=\"attachment_13885986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-800x422.jpg\" alt='Members of Dance Champz of Atlanta pose in red customized jerseys that read \"Champz Atlanta\". They are wearing fabric masks that cover the lower half of their faces. This photo is taken at sunset in Piedmont Park in Atlanta, GA.' width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-2048x1080.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-1920x1013.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">During the pandemic, the members of Dance Champz of Atlanta formed a pod. The members regularly check their temperatures and test for COVID-19. \u003ccite>(Photo by Frederick Taylor and Yusef Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have something to prove,” Thorpe says. “We’re taking advantage of this time to ourselves to get ourselves on the up and up. So when everything opens up, we’re ready to perform. We’re ready to be out there. We’re ready to show our faces.” \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-atlanta/index.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13885940/if-cities-could-dance-atlanta","authors":["byline_arts_13885940"],"series":["arts_4422"],"categories":["arts_1"],"tags":["arts_888","arts_11640","arts_11374","arts_2944","arts_3156","arts_7409","arts_879","arts_11238","arts_10278","arts_4522","arts_10882","arts_4524","arts_3226","arts_3152","arts_12081","arts_11333","arts_596","arts_3371","arts_5158","arts_12080","arts_12088","arts_4204","arts_1007"],"featImg":"arts_13893818","label":"arts_4422"},"arts_13859642":{"type":"posts","id":"arts_13859642","meta":{"index":"posts_1591205157","site":"arts","id":"13859642","score":null,"sort":[1560553369000]},"guestAuthors":[],"slug":"fresh-meat-festival-brings-top-notch-lgbtq-performers-to-z-space","title":"Fresh Meat Festival Brings Top-Notch LGBTQ+ Performers to Z Space","publishDate":1560553369,"format":"standard","headTitle":"Fresh Meat Festival Brings Top-Notch LGBTQ+ Performers to Z Space | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Acclaimed choreographer and trans activist Sean Dorsey’s \u003ca href=\"http://freshmeatproductions.org/fresh-meat-festival-2019/\" target=\"_blank\" rel=\"noopener\">Fresh Meat Festival\u003c/a> is an opportunity to experience the cutting edge of Bay Area dance, music, comedy, theater and more, featuring a slate of diverse artists from the LGBTQ+ community.\u003c/p>\n\u003cp>This year’s edition takes place June 20–22 at \u003ca href=\"http://www.zspace.org/\" target=\"_blank\" rel=\"noopener\">Z Space\u003c/a> in San Francisco, and stars vogue ensemble \u003ca href=\"https://www.facebook.com/kNOwSHADEdance/\" target=\"_blank\" rel=\"noopener\">kNOwShade\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/11506238/community-dance-jams-get-disabled-and-able-bodied-dancers-sweating-together\" target=\"_blank\" rel=\"noopener\">Axis Dance\u003c/a>, which spotlights dancers with disabilities; bachata champions (and life partners) \u003ca href=\"https://www.inlakechdance.com/about/\" target=\"_blank\" rel=\"noopener\">Jahaira Fajardo and Angelica Medina\u003c/a>; deaf dance trailblazer \u003ca href=\"https://www.kqed.org/arts/11899367/antoine-hunter-empowers-deaf-community-through-dance\" target=\"_blank\" rel=\"noopener\">Antoine Hunter\u003c/a>; and, of course, \u003ca href=\"http://seandorseydance.com/\" target=\"_blank\" rel=\"noopener\">Sean Dorsey Dance\u003c/a>. On the musical front, electro-pop singer-songwriter \u003ca href=\"https://www.kqed.org/arts/13844019/ah-mer-ah-sus-major-soundtrack-feeds-the-spirit-of-trans-resistance\" target=\"_blank\" rel=\"noopener\">Ah Mer Ah Su\u003c/a> performs her spellbinding, synth-driven tracks. Audiences will also hear from retro quartet \u003ca href=\"https://www.thesingingbois.com/\" target=\"_blank\" rel=\"noopener\">the Singing Bois\u003c/a>, folk-punk artist \u003ca href=\"http://shawnavirago.com/\" target=\"_blank\" rel=\"noopener\">Shawna Virago\u003c/a>, R&B singer \u003ca href=\"https://www.tajahj.com/\" target=\"_blank\" rel=\"noopener\">Tajah J\u003c/a>, \u003ca href=\"http://gapamc.org/know-us/\" target=\"_blank\" rel=\"noopener\">Gay Asian Pacific Alliance Men’s Chorus \u003c/a>and \u003ca href=\"https://sfcmc.org/new-voices-bay-area-tigq-chorus/\" target=\"_blank\" rel=\"noopener\">New Voices Bay Area TIGQ Chorus\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://jmaseiii.com/\" target=\"_blank\" rel=\"noopener\">J Mase III\u003c/a> and \u003ca href=\"https://www.therandyford.com/\" target=\"_blank\" rel=\"noopener\">Randy Ford\u003c/a> take on topics like colonial and domenstic violence through poetry and dance; \u003ca href=\"http://counterpulse.org/house-artist/javier-stell-fresquez/\" target=\"_blank\" rel=\"noopener\">Javier Stell-Fresquez\u003c/a> and \u003ca href=\"https://www.ivanmonteiro.net\" target=\"_blank\" rel=\"noopener\">Ivy Monteiro\u003c/a> team up for a gender-bending performance art piece; and Lottie Riot takes the mic for a stand-up comedy set.\u003c/p>\n\u003cp>All three evenings are hosted by filmmaker Annalise Ophelian, director of \u003ca href=\"https://www.missmajorfilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Major!\u003c/em>\u003c/a>, a documentary about the legendary trans activist Miss Major Griffin-Gracy. \u003ca href=\"https://soundcloud.com/lafrida333\" target=\"_blank\" rel=\"noopener\">DJ Frida Ibarra\u003c/a> spins house, cumbia, techno, pop and more for the after party.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The performances feature ASL interpretation and are wheelchair accessible, and there is a scent-reduced seating area. More details about Fresh Meat Festival can be found \u003ca href=\"http://freshmeatproductions.org/fresh-meat-festival-2019/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Curated by renowned choreographer Sean Dorsey, it features music, dance, comedy and more. ","status":"publish","parent":0,"modified":1705026008,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":258},"headData":{"title":"Fresh Meat Festival Brings Top-Notch LGBTQ+ Performers to Z Space | KQED","description":"Curated by renowned choreographer Sean Dorsey, it features music, dance, comedy and more. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Fresh Meat Festival Brings Top-Notch LGBTQ+ Performers to Z Space","datePublished":"2019-06-14T23:02:49.000Z","dateModified":"2024-01-12T02:20:08.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13859642/fresh-meat-festival-brings-top-notch-lgbtq-performers-to-z-space","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Acclaimed choreographer and trans activist Sean Dorsey’s \u003ca href=\"http://freshmeatproductions.org/fresh-meat-festival-2019/\" target=\"_blank\" rel=\"noopener\">Fresh Meat Festival\u003c/a> is an opportunity to experience the cutting edge of Bay Area dance, music, comedy, theater and more, featuring a slate of diverse artists from the LGBTQ+ community.\u003c/p>\n\u003cp>This year’s edition takes place June 20–22 at \u003ca href=\"http://www.zspace.org/\" target=\"_blank\" rel=\"noopener\">Z Space\u003c/a> in San Francisco, and stars vogue ensemble \u003ca href=\"https://www.facebook.com/kNOwSHADEdance/\" target=\"_blank\" rel=\"noopener\">kNOwShade\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/11506238/community-dance-jams-get-disabled-and-able-bodied-dancers-sweating-together\" target=\"_blank\" rel=\"noopener\">Axis Dance\u003c/a>, which spotlights dancers with disabilities; bachata champions (and life partners) \u003ca href=\"https://www.inlakechdance.com/about/\" target=\"_blank\" rel=\"noopener\">Jahaira Fajardo and Angelica Medina\u003c/a>; deaf dance trailblazer \u003ca href=\"https://www.kqed.org/arts/11899367/antoine-hunter-empowers-deaf-community-through-dance\" target=\"_blank\" rel=\"noopener\">Antoine Hunter\u003c/a>; and, of course, \u003ca href=\"http://seandorseydance.com/\" target=\"_blank\" rel=\"noopener\">Sean Dorsey Dance\u003c/a>. On the musical front, electro-pop singer-songwriter \u003ca href=\"https://www.kqed.org/arts/13844019/ah-mer-ah-sus-major-soundtrack-feeds-the-spirit-of-trans-resistance\" target=\"_blank\" rel=\"noopener\">Ah Mer Ah Su\u003c/a> performs her spellbinding, synth-driven tracks. Audiences will also hear from retro quartet \u003ca href=\"https://www.thesingingbois.com/\" target=\"_blank\" rel=\"noopener\">the Singing Bois\u003c/a>, folk-punk artist \u003ca href=\"http://shawnavirago.com/\" target=\"_blank\" rel=\"noopener\">Shawna Virago\u003c/a>, R&B singer \u003ca href=\"https://www.tajahj.com/\" target=\"_blank\" rel=\"noopener\">Tajah J\u003c/a>, \u003ca href=\"http://gapamc.org/know-us/\" target=\"_blank\" rel=\"noopener\">Gay Asian Pacific Alliance Men’s Chorus \u003c/a>and \u003ca href=\"https://sfcmc.org/new-voices-bay-area-tigq-chorus/\" target=\"_blank\" rel=\"noopener\">New Voices Bay Area TIGQ Chorus\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://jmaseiii.com/\" target=\"_blank\" rel=\"noopener\">J Mase III\u003c/a> and \u003ca href=\"https://www.therandyford.com/\" target=\"_blank\" rel=\"noopener\">Randy Ford\u003c/a> take on topics like colonial and domenstic violence through poetry and dance; \u003ca href=\"http://counterpulse.org/house-artist/javier-stell-fresquez/\" target=\"_blank\" rel=\"noopener\">Javier Stell-Fresquez\u003c/a> and \u003ca href=\"https://www.ivanmonteiro.net\" target=\"_blank\" rel=\"noopener\">Ivy Monteiro\u003c/a> team up for a gender-bending performance art piece; and Lottie Riot takes the mic for a stand-up comedy set.\u003c/p>\n\u003cp>All three evenings are hosted by filmmaker Annalise Ophelian, director of \u003ca href=\"https://www.missmajorfilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Major!\u003c/em>\u003c/a>, a documentary about the legendary trans activist Miss Major Griffin-Gracy. \u003ca href=\"https://soundcloud.com/lafrida333\" target=\"_blank\" rel=\"noopener\">DJ Frida Ibarra\u003c/a> spins house, cumbia, techno, pop and more for the after party.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The performances feature ASL interpretation and are wheelchair accessible, and there is a scent-reduced seating area. More details about Fresh Meat Festival can be found \u003ca href=\"http://freshmeatproductions.org/fresh-meat-festival-2019/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13859642/fresh-meat-festival-brings-top-notch-lgbtq-performers-to-z-space","authors":["11387"],"programs":["arts_140"],"categories":["arts_966","arts_69","arts_967"],"tags":["arts_879","arts_3152","arts_924"],"featImg":"arts_13859664","label":"arts_140"},"arts_13858627":{"type":"posts","id":"arts_13858627","meta":{"index":"posts_1591205157","site":"arts","id":"13858627","score":null,"sort":[1559395823000]},"guestAuthors":[],"slug":"gender-bent-broadway-frees-musical-theater-from-tired-old-attitudes","title":"'Gender Bent Broadway' Frees Musical Theater From Tired, Old Attitudes","publishDate":1559395823,"format":"audio","headTitle":"‘Gender Bent Broadway’ Frees Musical Theater From Tired, Old Attitudes | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Just in time for LGBTQ+ Pride Month, \u003ca href=\"https://cltc.org\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company\u003c/a> in San Jose presents \u003cem>Gender Bent Broadway\u003c/em>. That is to say, actors singing songs from roles they’ve always wanted to play, but couldn’t because of boring gender norms.\u003c/p>\n\u003cp>If you’re a fan of musical theater, and what 7 year old isn’t, it’s easy to love Robert Preston singing “Ya Got Trouble” from the 1957 Broadway musical \u003cem>The Music Man\u003c/em>.\u003c/p>\n\u003cp>Chloë Angst of Fremont fell in love with the song when she was 7.\u003c/p>\n\u003cp>“I loved it so much and I thought, ‘I want to play that part one day,'” Angst said, taking a moment’s respite from rehearsals ahead of the concert Sunday night.\u003c/p>\n\u003cp>But when she became a professional actor, right here in the San Francisco Bay Area, Angst was shocked to discover most casting directors seem inclined to hire biological males for roles written for men.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=LI_Oe-jtgdI]\u003c/p>\n\u003cp>“There’s usually a question on the audition form that says, ‘Which roles are you interested in taking?’ I will write down a male role, and 99% of the time, I do not get called back for that role and it is cast as a male.”\u003c/p>\n\u003cp>[aside postID='arts_13858609,arts_13858699,forum_2010101855532' label='Related Coverage']What could possibly account for this conventionality in the San Francisco Bay Area in 2019? Angst suggests timid regional theater companies fear offending older season subscribers. That, despite the fact Baby Boomers, right here in the Bay Area, helped usher in the sexual revolution and gay rights revolution in the 1960s and 70s.\u003c/p>\n\u003cp>Certainly, cabaret theater in the U.S. and abroad has celebrated gender fluidity for decades. In a revue, it doesn’t require any leap of imagination to divorce a song from the character that song was written for.\u003c/p>\n\u003cp>Broadway plays like \u003cem>Hedwig\u003c/em> and \u003cem>M. Butterfly\u003c/em> show there’s an appetite for stories detached from hetereonormative traditions. But that consciousness doesn’t necessarily find its way to modern productions of older plays and musicals.\u003c/p>\n\u003cp>Perhaps gender bending casting choices seem less risky when it’s a \u003ca href=\"http://www.playbill.com/article/6-gender-bending-broadway-replacements\" target=\"_blank\" rel=\"noopener\">celebrity\u003c/a> casting choice, as in the English actor \u003ca href=\"https://variety.com/2019/legit/reviews/king-lear-review-glenda-jackson-broadway-1203180018/\" target=\"_blank\" rel=\"noopener\">Glenda Jackson playing King Lear\u003c/a> on Broadway.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=M6b9ITKGWQM]\u003c/p>\n\u003cp>Whatever the case, with \u003ca href=\"http://cltc.org/concerts-special-events/\" target=\"_blank\" rel=\"noopener\">Gender Bent Broadway\u003c/a>, Angst gives herself and five other singing actors the chance to switch up the casting in a cabaret format. Also, the concert functions as a fundraiser for Angst’s new theater company, \u003ca href=\"http://www.badtheatrecompany.com\" target=\"_blank\" rel=\"noopener noreferrer\">B.A.D. Theatre Company\u003c/a>. B.A.D. there standing for Bay Area Diversity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, expect more of the same. Finally!\u003c/p>\n\n","blocks":[],"excerpt":"Young Bay Area actors are keen to gender bend in casting, playing roles written in past eras for the \"other\" sex.","status":"publish","parent":0,"modified":1705026110,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":468},"headData":{"title":"'Gender Bent Broadway' Frees Musical Theater From Tired, Old Attitudes | KQED","description":"Young Bay Area actors are keen to gender bend in casting, playing roles written in past eras for the "other" sex.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Gender Bent Broadway' Frees Musical Theater From Tired, Old Attitudes","datePublished":"2019-06-01T13:30:23.000Z","dateModified":"2024-01-12T02:21:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2019/06/MyrowGenderBentBroadway.mp3","sticky":false,"audioTrackLength":106,"path":"/arts/13858627/gender-bent-broadway-frees-musical-theater-from-tired-old-attitudes","audioDuration":106000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just in time for LGBTQ+ Pride Month, \u003ca href=\"https://cltc.org\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company\u003c/a> in San Jose presents \u003cem>Gender Bent Broadway\u003c/em>. That is to say, actors singing songs from roles they’ve always wanted to play, but couldn’t because of boring gender norms.\u003c/p>\n\u003cp>If you’re a fan of musical theater, and what 7 year old isn’t, it’s easy to love Robert Preston singing “Ya Got Trouble” from the 1957 Broadway musical \u003cem>The Music Man\u003c/em>.\u003c/p>\n\u003cp>Chloë Angst of Fremont fell in love with the song when she was 7.\u003c/p>\n\u003cp>“I loved it so much and I thought, ‘I want to play that part one day,'” Angst said, taking a moment’s respite from rehearsals ahead of the concert Sunday night.\u003c/p>\n\u003cp>But when she became a professional actor, right here in the San Francisco Bay Area, Angst was shocked to discover most casting directors seem inclined to hire biological males for roles written for men.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LI_Oe-jtgdI'\n title='//www.youtube.com/embed/LI_Oe-jtgdI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“There’s usually a question on the audition form that says, ‘Which roles are you interested in taking?’ I will write down a male role, and 99% of the time, I do not get called back for that role and it is cast as a male.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13858609,arts_13858699,forum_2010101855532","label":"Related Coverage "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>What could possibly account for this conventionality in the San Francisco Bay Area in 2019? Angst suggests timid regional theater companies fear offending older season subscribers. That, despite the fact Baby Boomers, right here in the Bay Area, helped usher in the sexual revolution and gay rights revolution in the 1960s and 70s.\u003c/p>\n\u003cp>Certainly, cabaret theater in the U.S. and abroad has celebrated gender fluidity for decades. In a revue, it doesn’t require any leap of imagination to divorce a song from the character that song was written for.\u003c/p>\n\u003cp>Broadway plays like \u003cem>Hedwig\u003c/em> and \u003cem>M. Butterfly\u003c/em> show there’s an appetite for stories detached from hetereonormative traditions. But that consciousness doesn’t necessarily find its way to modern productions of older plays and musicals.\u003c/p>\n\u003cp>Perhaps gender bending casting choices seem less risky when it’s a \u003ca href=\"http://www.playbill.com/article/6-gender-bending-broadway-replacements\" target=\"_blank\" rel=\"noopener\">celebrity\u003c/a> casting choice, as in the English actor \u003ca href=\"https://variety.com/2019/legit/reviews/king-lear-review-glenda-jackson-broadway-1203180018/\" target=\"_blank\" rel=\"noopener\">Glenda Jackson playing King Lear\u003c/a> on Broadway.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/M6b9ITKGWQM'\n title='//www.youtube.com/embed/M6b9ITKGWQM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Whatever the case, with \u003ca href=\"http://cltc.org/concerts-special-events/\" target=\"_blank\" rel=\"noopener\">Gender Bent Broadway\u003c/a>, Angst gives herself and five other singing actors the chance to switch up the casting in a cabaret format. Also, the concert functions as a fundraiser for Angst’s new theater company, \u003ca href=\"http://www.badtheatrecompany.com\" target=\"_blank\" rel=\"noopener noreferrer\">B.A.D. Theatre Company\u003c/a>. B.A.D. there standing for Bay Area Diversity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, expect more of the same. Finally!\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13858627/gender-bent-broadway-frees-musical-theater-from-tired-old-attitudes","authors":["251"],"categories":["arts_1","arts_69","arts_235","arts_967"],"tags":["arts_3343","arts_1118","arts_5870","arts_3226","arts_3152","arts_596","arts_4642","arts_1084"],"featImg":"arts_13858760","label":"arts"},"arts_13854644":{"type":"posts","id":"arts_13854644","meta":{"index":"posts_1591205157","site":"arts","id":"13854644","score":null,"sort":[1555030046000]},"guestAuthors":[],"slug":"how-the-world-caught-up-to-sylvester","title":"How the World Caught Up to Sylvester","publishDate":1555030046,"format":"standard","headTitle":"How the World Caught Up to Sylvester | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The year was 1972 and David Bowie had just released \u003cem>The Rise and Fall of Ziggy Stardust\u003c/em>, his concept album written from the perspective of an androgynous, bisexual alter-ego. With a fire-red mullet and rhinestone-encrusted jumpsuits, he ushered in an era of glitter-spangled, tight-clothed rockers who came to define the aesthetic of the decade.\u003c/p>\n\u003cp>But as influential as Bowie was, when he came to San Francisco in October of 1972, he didn’t feel that his audience was too impressed. In fact, Bowie wouldn’t return to the city until four whole years later, in 1976. “They don’t need me,” he told a reporter at the time. “They’ve got Sylvester.”\u003c/p>\n\u003cp>Most might recognize Sylvester, Bowie’s opening act for those 1972 San Francisco tour dates, from his falsetto-laden “You Make Me Feel (Mighty Real).” The 1978 disco hit has soundtracked thousands of Pride parades and drag shows. Before his mainstream success, however, Sylvester was notorious in the Bay Area as a gender-nonconforming counterculture icon—and one that clearly left an impression on Bowie.\u003c/p>\n\u003cp>Now, over three decades after his death in 1988, Sylvester’s trailblazing legacy is prominently featured in \u003cem>\u003ca href=\"http://museumca.org/exhibit/queer-california-untold-stories\" target=\"_blank\" rel=\"noopener\">Queer California: Untold Stories\u003c/a>\u003c/em>, a new exhibit running April 13–Aug. 11 at the Oakland Museum of California.\u003c/p>\n\u003cp>https://youtu.be/VyAHULpMXKQ\u003c/p>\n\u003ch2>From Haight-Ashbury to stardom\u003c/h2>\n\u003cp>Decades before terms such as “genderqueer,” “genderfluid” and “nonbinary” came into popular use, Sylvester lived comfortably outside of the categories of male and female without a label, and expected the world to accept his fluid form of self-expression. He occasionally slipped from “he” into “she” pronouns, wearing makeup, wigs and sequins one day and a three-piece suit the next. When Joan Rivers described him as a drag queen in a \u003ca href=\"https://www.youtube.com/watch?v=FNS7VM5oTRU\" target=\"_blank\" rel=\"noopener\">1986 interview\u003c/a> on \u003cem>The Tonight Show\u003c/em>, he rejected the label, turning up his nose and replying, “I’m Sylvester.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This idea that people had to catch up to him was always part of his mindset,” says University of San Francisco professor Joshua Gamson, who published the biography \u003cem>The Fabulous Sylvester\u003c/em> in 2005. “He was not going to be waiting for permission from people to do what he wanted to do, or for the mainstream culture to say it was OK.”\u003c/p>\n\u003cp>Gamson adds, “He was certainly genderfluid before anybody named that, and really queer before anybody named it the way people talk about ‘queer’ in the last 25 years.”\u003c/p>\n\u003cfigure id=\"attachment_13854808\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854808\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/CG3-800x1139.jpg\" alt=\"Clay Geerdes, Cockettes go shopping, 1971. \" width=\"800\" height=\"1139\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-800x1139.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-160x228.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-768x1093.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-1020x1452.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-843x1200.jpg 843w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-1920x2733.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3.jpg 1439w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clay Geerdes, Cockettes go shopping, 1971. \u003ccite>(Courtesy of David Miller, from the estate of Clay Geerdes.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raised singing gospel in the church choir, Sylvester spent his adolescence in Los Angeles partying with a clique of black trans women, drag queens and gender-nonconforming people who called themselves the Disquotays. When Sylvester moved to San Francisco in 1970, he quickly fell into the Haight-Ashbury hippie scene. He joined a mostly white drag-theater troupe called the Cockettes, who spent their days taking LSD, dressing up and living their lives as one long, bizarre piece of performance art.\u003c/p>\n\u003cp>Sylvester had a falling out with the Cockettes after upstaging them at a New York show that was supposed to be their big break in 1971, Gamson describes in his book. (The Cockettes blew off rehearsals to gallivant about town, and it showed.) Meanwhile, Sylvester poured himself into his performance and garnered national press as an up-and-coming blues-rock star.\u003c/p>\n\u003cp>“Sylvester was ultimately really driven to be an excellent performer and an excellent singer, and that’s what I really love,” says Christina Linden, the curator of \u003cem>Queer California\u003c/em> at the Oakland Museum.\u003c/p>\n\u003cp>During the early ’70s, Sylvester regularly opened for big-name acts at concerts promoted by Bill Graham, winning over the longhair rock crowd with his captivating voice, unusual appearance and live show that took audiences to heights of spiritual ecstasy. Bowie wasn’t the only star he eclipsed; Gamson notes that the \u003cem>Los Angeles Times\u003c/em> once reported that Sylvester “outrocked” Billy Preston. Sylvester and his Hot Band got a record deal with a label called Blue Thumb, where he counted the Pointer Sisters, old friends from the Bay Area scene, as labelmates.\u003c/p>\n\u003ch2>Sylvester’s comeback as a disco star\u003c/h2>\n\u003cp>By the mid ’70s, Sylvester’s Blue Thumb albums had stopped selling well, and he’d blown through his royalty advance. Broke and without a band, he started from square one as a solo act in the Castro district’s newly thriving gay club scene.\u003c/p>\n\u003cp>With two church-raised gospel singers, Martha Wash and Izora Rhodes (who eventually became the Weather Girls of “It’s Raining Men” fame), Sylvester assembled a new band and began recording new music at places like Berkeley’s famed Fantasy Studios. Meanwhile, disco had crossed over into the mainstream, and conditions were ripe for Sylvester to make it big.\u003c/p>\n\u003cfigure id=\"attachment_13854809\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/CG1-800x1180.jpg\" alt=\"Clay Geerdes, Sylvester in Braids, 1971. \" width=\"800\" height=\"1180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG1-160x236.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG1-768x1133.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clay Geerdes, Sylvester in Braids, 1971. \u003ccite>(Courtesy of David Miller, from the estate of Clay Geerdes.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sylvester had been toying with a gospel-tinged piano track called “You Make Me Feel (Mighty Real)” when Patrick Cowley heard it. Cowley’s synth-driven sound came to define the West Coast gay club scene of the ’80s. Impressed, he offered to produce a more uptempo remix of the song.\u003c/p>\n\u003cp>The look, the voice, the pulsing beat—it all came together at the right time. “You Make Me Feel (Mighty Real)” reached No. 1 on Billboard’s dance music chart and became an anthem for disco’s promise of liberation.\u003c/p>\n\u003cp>“He’s a figure of a certain kind of self-creation and self-determination that is very powerful. He’s an icon of queer freedom,” says Gamson. “He is a soundtrack for those things—soundtrack for a collective self-determination, and a certain kind of collective ‘fuck you.’ A celebration of being real and fabulous and all the things society denied you. He provided music that reminded people of that, that still feels like that when you hear it.”\u003c/p>\n\u003cp>The success of “You Make Me Feel (Mighty Real)” brought international tours and opening gigs for Chaka Khan. Sylvester even sold out the 3,000-seat War Memorial Opera House in San Francisco, and was presented the keys to the city by the office of then-mayor Dianne Feinstein.\u003c/p>\n\u003cp>But within the year, it became fashionable to hate disco, due in part to \u003ca href=\"https://www.npr.org/2016/07/16/485873750/july-12-1979-the-night-disco-died-or-didnt\" target=\"_blank\" rel=\"noopener\">white, straight industry gatekeepers\u003c/a> who objected to its popularity. Still, Sylvester remained a star of the Castro, even as Fantasy Records executives pressured him to make his presentation more masculine in a bid to sell records.\u003c/p>\n\u003cp>https://youtu.be/lj5bzbrWRd4\u003c/p>\n\u003cp>He spent his last years working with Cowley at his label, Megatone Records, where they made another dance hit, “Do Ya Wanna Funk.” That same year, in 1982, Sylvester’s hard rock single “\u003ca href=\"https://www.youtube.com/watch?v=UJe83--M1Gw\" target=\"_blank\" rel=\"noopener\">Hard Up\u003c/a>” was featured on MTV.\u003c/p>\n\u003ch2>The Castro scene and the AIDS crisis\u003c/h2>\n\u003cp>In the early ’80s, AIDS ravaged the gay community and, sadly, Cowley died from it in 1982. When Sylvester’s boyfriend Rick Cranmer succumbed to the disease as well, in 1987, Sylvester knew he was next. In his final years, he used media interviews to advocate for AIDS victims and performed at some of the earliest benefits for victims of the disease. He even appeared at the Castro’s Gay Freedom Parade in a wheelchair.\u003c/p>\n\u003cfigure id=\"attachment_13854861\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854861\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/IMG_5715-800x1067.jpg\" alt=\"Sylvester's blue sequined jacket, made by Pat Campano circa 1985.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5715.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5715-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5715-768x1024.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sylvester’s blue sequined jacket, made by Pat Campano circa 1985, from the Gay, Lesbian, Bisexual and Transgender Historical Society, as seen at the Oakland Museum of California. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Known as ‘the Queen of Disco’ here in the late 1970s, Sylvester delighted audiences of every race and sexual persuasion with his funky, spiritual-style singing in his nightclub routine in which he wore exotic costumes,” the \u003ca href=\"https://www.nytimes.com/2014/09/22/theater/mighty-real-a-musical-about-the-pop-star-sylvester.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a> wrote after his death.\u003c/p>\n\u003cp>Over 30 years later, Sylvester remains an icon. His life inspired an Off-Broadway musical called \u003cem>Mighty Real\u003c/em> in 2014. This year, “You Make Me Feel (Mighty Real)” was added to the Library of Congress for being “culturally, historically, or aesthetically significant,” and numerous photos from Sylvester’s Cockettes days and solo career—as well as his blue sequined jacket—are featured in the Oakland Museum’s \u003cem>Queer California\u003c/em>.\u003c/p>\n\u003cp>“There’s greater and greater recognition of queer culture, a lot more room and less shame and embarrassment,” says Gamson. “There’s more of an appetite for [learning about] the people who helped make this happen, and the people who’ve been overlooked because of intersectional racism, homophobia, anti-femme—all the things that’ve kept Sylvester somewhat on the margins.”\u003c/p>\n\u003cp>“In his own terms,” Gamson adds, “it’s like the world caught up.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Queer California’ is on view at the Oakland Museum of California from April 13–Aug. 11. \u003ca href=\"http://museumca.org/exhibit/queer-california-untold-stories\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The genderfluid disco star best known for the hit \"You Make Me Feel (Mighty Real)\" is part of 'Queer California,' a new museum exhibit in Oakland.","status":"publish","parent":0,"modified":1705026343,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1563},"headData":{"title":"How the World Caught Up to Sylvester | KQED","description":"The genderfluid disco star best known for the hit "You Make Me Feel (Mighty Real)" is part of 'Queer California,' a new museum exhibit in Oakland.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How the World Caught Up to Sylvester","datePublished":"2019-04-12T00:47:26.000Z","dateModified":"2024-01-12T02:25:43.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13854644/how-the-world-caught-up-to-sylvester","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year was 1972 and David Bowie had just released \u003cem>The Rise and Fall of Ziggy Stardust\u003c/em>, his concept album written from the perspective of an androgynous, bisexual alter-ego. With a fire-red mullet and rhinestone-encrusted jumpsuits, he ushered in an era of glitter-spangled, tight-clothed rockers who came to define the aesthetic of the decade.\u003c/p>\n\u003cp>But as influential as Bowie was, when he came to San Francisco in October of 1972, he didn’t feel that his audience was too impressed. In fact, Bowie wouldn’t return to the city until four whole years later, in 1976. “They don’t need me,” he told a reporter at the time. “They’ve got Sylvester.”\u003c/p>\n\u003cp>Most might recognize Sylvester, Bowie’s opening act for those 1972 San Francisco tour dates, from his falsetto-laden “You Make Me Feel (Mighty Real).” The 1978 disco hit has soundtracked thousands of Pride parades and drag shows. Before his mainstream success, however, Sylvester was notorious in the Bay Area as a gender-nonconforming counterculture icon—and one that clearly left an impression on Bowie.\u003c/p>\n\u003cp>Now, over three decades after his death in 1988, Sylvester’s trailblazing legacy is prominently featured in \u003cem>\u003ca href=\"http://museumca.org/exhibit/queer-california-untold-stories\" target=\"_blank\" rel=\"noopener\">Queer California: Untold Stories\u003c/a>\u003c/em>, a new exhibit running April 13–Aug. 11 at the Oakland Museum of California.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VyAHULpMXKQ'\n title='//www.youtube.com/embed/VyAHULpMXKQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>From Haight-Ashbury to stardom\u003c/h2>\n\u003cp>Decades before terms such as “genderqueer,” “genderfluid” and “nonbinary” came into popular use, Sylvester lived comfortably outside of the categories of male and female without a label, and expected the world to accept his fluid form of self-expression. He occasionally slipped from “he” into “she” pronouns, wearing makeup, wigs and sequins one day and a three-piece suit the next. When Joan Rivers described him as a drag queen in a \u003ca href=\"https://www.youtube.com/watch?v=FNS7VM5oTRU\" target=\"_blank\" rel=\"noopener\">1986 interview\u003c/a> on \u003cem>The Tonight Show\u003c/em>, he rejected the label, turning up his nose and replying, “I’m Sylvester.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This idea that people had to catch up to him was always part of his mindset,” says University of San Francisco professor Joshua Gamson, who published the biography \u003cem>The Fabulous Sylvester\u003c/em> in 2005. “He was not going to be waiting for permission from people to do what he wanted to do, or for the mainstream culture to say it was OK.”\u003c/p>\n\u003cp>Gamson adds, “He was certainly genderfluid before anybody named that, and really queer before anybody named it the way people talk about ‘queer’ in the last 25 years.”\u003c/p>\n\u003cfigure id=\"attachment_13854808\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854808\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/CG3-800x1139.jpg\" alt=\"Clay Geerdes, Cockettes go shopping, 1971. \" width=\"800\" height=\"1139\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-800x1139.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-160x228.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-768x1093.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-1020x1452.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-843x1200.jpg 843w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-1920x2733.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3.jpg 1439w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clay Geerdes, Cockettes go shopping, 1971. \u003ccite>(Courtesy of David Miller, from the estate of Clay Geerdes.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raised singing gospel in the church choir, Sylvester spent his adolescence in Los Angeles partying with a clique of black trans women, drag queens and gender-nonconforming people who called themselves the Disquotays. When Sylvester moved to San Francisco in 1970, he quickly fell into the Haight-Ashbury hippie scene. He joined a mostly white drag-theater troupe called the Cockettes, who spent their days taking LSD, dressing up and living their lives as one long, bizarre piece of performance art.\u003c/p>\n\u003cp>Sylvester had a falling out with the Cockettes after upstaging them at a New York show that was supposed to be their big break in 1971, Gamson describes in his book. (The Cockettes blew off rehearsals to gallivant about town, and it showed.) Meanwhile, Sylvester poured himself into his performance and garnered national press as an up-and-coming blues-rock star.\u003c/p>\n\u003cp>“Sylvester was ultimately really driven to be an excellent performer and an excellent singer, and that’s what I really love,” says Christina Linden, the curator of \u003cem>Queer California\u003c/em> at the Oakland Museum.\u003c/p>\n\u003cp>During the early ’70s, Sylvester regularly opened for big-name acts at concerts promoted by Bill Graham, winning over the longhair rock crowd with his captivating voice, unusual appearance and live show that took audiences to heights of spiritual ecstasy. Bowie wasn’t the only star he eclipsed; Gamson notes that the \u003cem>Los Angeles Times\u003c/em> once reported that Sylvester “outrocked” Billy Preston. Sylvester and his Hot Band got a record deal with a label called Blue Thumb, where he counted the Pointer Sisters, old friends from the Bay Area scene, as labelmates.\u003c/p>\n\u003ch2>Sylvester’s comeback as a disco star\u003c/h2>\n\u003cp>By the mid ’70s, Sylvester’s Blue Thumb albums had stopped selling well, and he’d blown through his royalty advance. Broke and without a band, he started from square one as a solo act in the Castro district’s newly thriving gay club scene.\u003c/p>\n\u003cp>With two church-raised gospel singers, Martha Wash and Izora Rhodes (who eventually became the Weather Girls of “It’s Raining Men” fame), Sylvester assembled a new band and began recording new music at places like Berkeley’s famed Fantasy Studios. Meanwhile, disco had crossed over into the mainstream, and conditions were ripe for Sylvester to make it big.\u003c/p>\n\u003cfigure id=\"attachment_13854809\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/CG1-800x1180.jpg\" alt=\"Clay Geerdes, Sylvester in Braids, 1971. \" width=\"800\" height=\"1180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG1-160x236.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG1-768x1133.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clay Geerdes, Sylvester in Braids, 1971. \u003ccite>(Courtesy of David Miller, from the estate of Clay Geerdes.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sylvester had been toying with a gospel-tinged piano track called “You Make Me Feel (Mighty Real)” when Patrick Cowley heard it. Cowley’s synth-driven sound came to define the West Coast gay club scene of the ’80s. Impressed, he offered to produce a more uptempo remix of the song.\u003c/p>\n\u003cp>The look, the voice, the pulsing beat—it all came together at the right time. “You Make Me Feel (Mighty Real)” reached No. 1 on Billboard’s dance music chart and became an anthem for disco’s promise of liberation.\u003c/p>\n\u003cp>“He’s a figure of a certain kind of self-creation and self-determination that is very powerful. He’s an icon of queer freedom,” says Gamson. “He is a soundtrack for those things—soundtrack for a collective self-determination, and a certain kind of collective ‘fuck you.’ A celebration of being real and fabulous and all the things society denied you. He provided music that reminded people of that, that still feels like that when you hear it.”\u003c/p>\n\u003cp>The success of “You Make Me Feel (Mighty Real)” brought international tours and opening gigs for Chaka Khan. Sylvester even sold out the 3,000-seat War Memorial Opera House in San Francisco, and was presented the keys to the city by the office of then-mayor Dianne Feinstein.\u003c/p>\n\u003cp>But within the year, it became fashionable to hate disco, due in part to \u003ca href=\"https://www.npr.org/2016/07/16/485873750/july-12-1979-the-night-disco-died-or-didnt\" target=\"_blank\" rel=\"noopener\">white, straight industry gatekeepers\u003c/a> who objected to its popularity. Still, Sylvester remained a star of the Castro, even as Fantasy Records executives pressured him to make his presentation more masculine in a bid to sell records.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lj5bzbrWRd4'\n title='//www.youtube.com/embed/lj5bzbrWRd4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He spent his last years working with Cowley at his label, Megatone Records, where they made another dance hit, “Do Ya Wanna Funk.” That same year, in 1982, Sylvester’s hard rock single “\u003ca href=\"https://www.youtube.com/watch?v=UJe83--M1Gw\" target=\"_blank\" rel=\"noopener\">Hard Up\u003c/a>” was featured on MTV.\u003c/p>\n\u003ch2>The Castro scene and the AIDS crisis\u003c/h2>\n\u003cp>In the early ’80s, AIDS ravaged the gay community and, sadly, Cowley died from it in 1982. When Sylvester’s boyfriend Rick Cranmer succumbed to the disease as well, in 1987, Sylvester knew he was next. In his final years, he used media interviews to advocate for AIDS victims and performed at some of the earliest benefits for victims of the disease. He even appeared at the Castro’s Gay Freedom Parade in a wheelchair.\u003c/p>\n\u003cfigure id=\"attachment_13854861\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854861\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/IMG_5715-800x1067.jpg\" alt=\"Sylvester's blue sequined jacket, made by Pat Campano circa 1985.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5715.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5715-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5715-768x1024.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sylvester’s blue sequined jacket, made by Pat Campano circa 1985, from the Gay, Lesbian, Bisexual and Transgender Historical Society, as seen at the Oakland Museum of California. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Known as ‘the Queen of Disco’ here in the late 1970s, Sylvester delighted audiences of every race and sexual persuasion with his funky, spiritual-style singing in his nightclub routine in which he wore exotic costumes,” the \u003ca href=\"https://www.nytimes.com/2014/09/22/theater/mighty-real-a-musical-about-the-pop-star-sylvester.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a> wrote after his death.\u003c/p>\n\u003cp>Over 30 years later, Sylvester remains an icon. His life inspired an Off-Broadway musical called \u003cem>Mighty Real\u003c/em> in 2014. This year, “You Make Me Feel (Mighty Real)” was added to the Library of Congress for being “culturally, historically, or aesthetically significant,” and numerous photos from Sylvester’s Cockettes days and solo career—as well as his blue sequined jacket—are featured in the Oakland Museum’s \u003cem>Queer California\u003c/em>.\u003c/p>\n\u003cp>“There’s greater and greater recognition of queer culture, a lot more room and less shame and embarrassment,” says Gamson. “There’s more of an appetite for [learning about] the people who helped make this happen, and the people who’ve been overlooked because of intersectional racism, homophobia, anti-femme—all the things that’ve kept Sylvester somewhat on the margins.”\u003c/p>\n\u003cp>“In his own terms,” Gamson adds, “it’s like the world caught up.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Queer California’ is on view at the Oakland Museum of California from April 13–Aug. 11. \u003ca href=\"http://museumca.org/exhibit/queer-california-untold-stories\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13854644/how-the-world-caught-up-to-sylvester","authors":["11387"],"categories":["arts_69"],"tags":["arts_1118","arts_3226","arts_3152","arts_5849","arts_2755"],"featImg":"arts_13854810","label":"arts"},"arts_13853543":{"type":"posts","id":"arts_13853543","meta":{"index":"posts_1591205157","site":"arts","id":"13853543","score":null,"sort":[1553559283000]},"guestAuthors":[],"slug":"genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep","title":"Genre-Defying Rapper Mahawam Grapples With an HIV Diagnosis on Their New EP","publishDate":1553559283,"format":"standard","headTitle":"Genre-Defying Rapper Mahawam Grapples With an HIV Diagnosis on Their New EP | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ca href=\"https://mahawam.bandcamp.com/album/is-an-island\" target=\"_blank\" rel=\"noopener\">Mahawam\u003c/a>‘s \u003cem>Is an Island\u003c/em> EP (out March 29 on Molly House Records) emerged from a period when the artist wanted to disappear.\u003c/p>\n\u003cp>“I had just received my [HIV] positive diagnosis, and I wasn’t really sure how to talk about it with my friends,” the rapper and multi-instrumentalist, whose real name is Malik Mays, recalls stoically over coffee on a sunny morning in Oakland. “I started to withdraw into myself. I stopped going to parties. I stopped DJing for a bit. People didn’t see me, and nobody really asked.”\u003c/p>\n\u003cp>The stream-of-consciousness lead single from \u003cem>Is an Island\u003c/em>, “Michelle Pfeiffer,” is a sketch of Mahawam’s mental state during that time. Its lyrics bounce between dejected and self-destructive, with a frantic delivery that evokes the disorienting, sped-up drug sequences in \u003cem>Requiem for a Dream\u003c/em>. “Gold’s been leaking from my lesions lately / It’s crazy but, imminent death, imminent death, imminent death,” Mahawam fires off in the hook, excavating the highs and lows of a substance-fueled downward spiral.\u003c/p>\n\u003cp>https://youtu.be/Ahd4yQ6ruLQ\u003c/p>\n\u003cp>The “Michelle Pfeiffer” music video, which opens with a questionnaire one might fill out in a psychiatrist’s office, shows Mahawam anxiously waiting in an empty room, contemplating their fate while drinking dark liquor and fidgeting with anxiety. (Mahawam uses they/them pronouns.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[\u003cem>Is an Island\u003c/em>] was something I had to do in order to escape the process of grieving for myself,” Mahawam says, recalling their rage and sadness.\u003c/p>\n\u003cp>“I definitely feel like I’m on even ground again,” they continue. “The record is like a picture of the flash in the fire. It was a short period of time, I don’t feel like that anymore. But it was important to feel like that, and know I could get to a place that’s so low and bounce back.”\u003c/p>\n\u003cp>Music has always been a constant in Mahawam’s life, one that helped them find their way back to normalcy following the diagnosis. They were an orchestra kid in high school in Arizona, and grew up playing violin, cello and orchestral percussion. They studied creative writing with a concentration in poetry at Arizona State University before dropping out and completing a music engineering program.\u003c/p>\n\u003cp>After moving to the Bay Area in 2013, Mahawam got involved in the local drag scene as a DJ and began making beats behind closed doors. Rapping came when they needed vocals to go with their production, much of which has a club music tempo and a discordant, punk-rap experimentalism, evoking artists as disparate as Death Grips and Robyn. A friend of Mahawam’s, Kristina Esfandiari of the doom metal band \u003ca href=\"https://kingwoman.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">King Woman\u003c/a>, heard their music and became an early champion of their work.\u003c/p>\n\u003cfigure id=\"attachment_13853670\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/mahawam-4-800x1000.jpg\" alt=\"Mahawam. \" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/mahawam-4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/mahawam-4-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/mahawam-4-768x960.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mahawam. \u003ccite>(Guerrilla Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was literally yelling at them like, ‘You’re supposed to do music! You need to do it!'” says Esfandiari, who booked Mahawam’s first headlining show under the guise of them opening for King Woman. Esfandiari performed one song and gave Mahawam the floor. “I cried the first time I saw Malik perform. I think they’re an absolute genius.”\u003c/p>\n\u003cp>Mahawam quickly found support in Oakland’s diverse and interdisciplinary music scene, where artists of different genres and identities mingle at bars, underground spaces and homegrown festivals, leading to unexpected collaborations. One night at Starline Social Club, Esfandiari introduced Mahawam to Michelle Campbell, who manages rising Oakland synth-pop duo \u003ca href=\"https://vverevvolf.bandcamp.com\" target=\"_blank\" rel=\"noopener\">vverewolf\u003c/a> (one of the supporting acts at Mahawam’s EP \u003ca href=\"https://amnesiathebar.com/calendar/late-show-mahawan-fringe-class-vverewolf-dj/\" target=\"_blank\" rel=\"noopener\">release show\u003c/a> at Amnesia in San Francisco on March 26). Campbell, who now manages Mahawam, connected them with bassist Akiyoshi Ehara from prolific, local neo-soul band \u003ca href=\"https://theseshen.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">the Seshen\u003c/a>, and Ehara co-produced and mixed \u003cem>Is an Island\u003c/em>.\u003c/p>\n\u003cp>“There’s so much out there in the music world these days where it feels like people are trying to emulate pop stars rather than create their own sound,” Ehara says. “And what I like about Malik’s music is that it feels like their own path that they’re forging. That takes a certain level of bravery.”\u003c/p>\n\u003cp>The tracks on \u003cem>Is an Island\u003c/em>, with their soaring pop hooks, frenetic, uptempo beats and (sometimes uncomfortably) introspective lyrics, don’t fit neatly into a genre, and share a kindred spirit with boundary-pushing rappers like Maryland’s nu–metal-dabbling firecracker \u003ca href=\"https://www.kqed.org/arts/13846952/how-2018s-most-exciting-female-rappers-broke-the-vixen-mold\" target=\"_blank\" rel=\"noopener\">Rico Nasty\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1012948026/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Mahawam’s genre-defying approach is part of their appeal, as evinced by the fact that a doom-metal singer, a bubblegum pop band and a neo-soul bassist are in their corner. “I think it’s a sign of the genre-less future we’re approaching, where everything is everything, and the lines between cultures even have started to blur—which gets messy at times, but I think, for the most part, it’s really cool,” Mahawam says.\u003c/p>\n\u003cp>Mahawam’s arrival also comes at a time when the rap world is beginning to open up to more than just male, heterosexual narratives. The mainstream success of Cardi B, Megan Thee Stallion and City Girls—and the rise of Cupcakke, Tierra Whack and BbyMutha on the indie front—proves rap fans crave other perspectives. But challenges persist, especially for someone like Mahawam, who is gender nonbinary. Queer, gender-nonconforming artists still face harassment and homophobia. Meanwhile, others have found an audience in the LGBTQ+ club scene rather than the mainstream rap world.\u003c/p>\n\u003cp>“I think that dilutes the effectiveness of rap as a genre, rap as a platform, hip-hop as a lifestyle,” Mahawam says of segregating acts by gender or sexuality. “That division doesn’t need to be there.”\u003c/p>\n\u003cp>Still, despite the challenges, Mahawam has found strength—and a captive audience—by simply speaking their truth and being themself. “Really at the end of the day, I don’t worry about where I sit on the gender spectrum because of my music,” says the artist. “It’s not the focus. I frequently switch genders in my music, and my pronouns even change. … I think me having that fluidity in my music and presenting the way that I look will inspire some other child who has decided to sit firmly in the middle and write what they want to write.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Mahawam performs at Amnesia on March 26. Details \u003ca href=\"https://amnesiathebar.com/calendar/late-show-mahawan-fringe-class-vverewolf-dj/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The rising Oakland experimentalist found a captive audience by speaking difficult truths on 'Is an Island.'","status":"publish","parent":0,"modified":1705026433,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=1012948026/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1121},"headData":{"title":"Genre-Defying Rapper Mahawam Grapples With an HIV Diagnosis on Their New EP | KQED","description":"The rising Oakland experimentalist found a captive audience by speaking difficult truths on 'Is an Island.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Genre-Defying Rapper Mahawam Grapples With an HIV Diagnosis on Their New EP","datePublished":"2019-03-26T00:14:43.000Z","dateModified":"2024-01-12T02:27:13.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://mahawam.bandcamp.com/album/is-an-island\" target=\"_blank\" rel=\"noopener\">Mahawam\u003c/a>‘s \u003cem>Is an Island\u003c/em> EP (out March 29 on Molly House Records) emerged from a period when the artist wanted to disappear.\u003c/p>\n\u003cp>“I had just received my [HIV] positive diagnosis, and I wasn’t really sure how to talk about it with my friends,” the rapper and multi-instrumentalist, whose real name is Malik Mays, recalls stoically over coffee on a sunny morning in Oakland. “I started to withdraw into myself. I stopped going to parties. I stopped DJing for a bit. People didn’t see me, and nobody really asked.”\u003c/p>\n\u003cp>The stream-of-consciousness lead single from \u003cem>Is an Island\u003c/em>, “Michelle Pfeiffer,” is a sketch of Mahawam’s mental state during that time. Its lyrics bounce between dejected and self-destructive, with a frantic delivery that evokes the disorienting, sped-up drug sequences in \u003cem>Requiem for a Dream\u003c/em>. “Gold’s been leaking from my lesions lately / It’s crazy but, imminent death, imminent death, imminent death,” Mahawam fires off in the hook, excavating the highs and lows of a substance-fueled downward spiral.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Ahd4yQ6ruLQ'\n title='//www.youtube.com/embed/Ahd4yQ6ruLQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The “Michelle Pfeiffer” music video, which opens with a questionnaire one might fill out in a psychiatrist’s office, shows Mahawam anxiously waiting in an empty room, contemplating their fate while drinking dark liquor and fidgeting with anxiety. (Mahawam uses they/them pronouns.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[\u003cem>Is an Island\u003c/em>] was something I had to do in order to escape the process of grieving for myself,” Mahawam says, recalling their rage and sadness.\u003c/p>\n\u003cp>“I definitely feel like I’m on even ground again,” they continue. “The record is like a picture of the flash in the fire. It was a short period of time, I don’t feel like that anymore. But it was important to feel like that, and know I could get to a place that’s so low and bounce back.”\u003c/p>\n\u003cp>Music has always been a constant in Mahawam’s life, one that helped them find their way back to normalcy following the diagnosis. They were an orchestra kid in high school in Arizona, and grew up playing violin, cello and orchestral percussion. They studied creative writing with a concentration in poetry at Arizona State University before dropping out and completing a music engineering program.\u003c/p>\n\u003cp>After moving to the Bay Area in 2013, Mahawam got involved in the local drag scene as a DJ and began making beats behind closed doors. Rapping came when they needed vocals to go with their production, much of which has a club music tempo and a discordant, punk-rap experimentalism, evoking artists as disparate as Death Grips and Robyn. A friend of Mahawam’s, Kristina Esfandiari of the doom metal band \u003ca href=\"https://kingwoman.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">King Woman\u003c/a>, heard their music and became an early champion of their work.\u003c/p>\n\u003cfigure id=\"attachment_13853670\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/mahawam-4-800x1000.jpg\" alt=\"Mahawam. \" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/mahawam-4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/mahawam-4-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/mahawam-4-768x960.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mahawam. \u003ccite>(Guerrilla Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was literally yelling at them like, ‘You’re supposed to do music! You need to do it!'” says Esfandiari, who booked Mahawam’s first headlining show under the guise of them opening for King Woman. Esfandiari performed one song and gave Mahawam the floor. “I cried the first time I saw Malik perform. I think they’re an absolute genius.”\u003c/p>\n\u003cp>Mahawam quickly found support in Oakland’s diverse and interdisciplinary music scene, where artists of different genres and identities mingle at bars, underground spaces and homegrown festivals, leading to unexpected collaborations. One night at Starline Social Club, Esfandiari introduced Mahawam to Michelle Campbell, who manages rising Oakland synth-pop duo \u003ca href=\"https://vverevvolf.bandcamp.com\" target=\"_blank\" rel=\"noopener\">vverewolf\u003c/a> (one of the supporting acts at Mahawam’s EP \u003ca href=\"https://amnesiathebar.com/calendar/late-show-mahawan-fringe-class-vverewolf-dj/\" target=\"_blank\" rel=\"noopener\">release show\u003c/a> at Amnesia in San Francisco on March 26). Campbell, who now manages Mahawam, connected them with bassist Akiyoshi Ehara from prolific, local neo-soul band \u003ca href=\"https://theseshen.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">the Seshen\u003c/a>, and Ehara co-produced and mixed \u003cem>Is an Island\u003c/em>.\u003c/p>\n\u003cp>“There’s so much out there in the music world these days where it feels like people are trying to emulate pop stars rather than create their own sound,” Ehara says. “And what I like about Malik’s music is that it feels like their own path that they’re forging. That takes a certain level of bravery.”\u003c/p>\n\u003cp>The tracks on \u003cem>Is an Island\u003c/em>, with their soaring pop hooks, frenetic, uptempo beats and (sometimes uncomfortably) introspective lyrics, don’t fit neatly into a genre, and share a kindred spirit with boundary-pushing rappers like Maryland’s nu–metal-dabbling firecracker \u003ca href=\"https://www.kqed.org/arts/13846952/how-2018s-most-exciting-female-rappers-broke-the-vixen-mold\" target=\"_blank\" rel=\"noopener\">Rico Nasty\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1012948026/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Mahawam’s genre-defying approach is part of their appeal, as evinced by the fact that a doom-metal singer, a bubblegum pop band and a neo-soul bassist are in their corner. “I think it’s a sign of the genre-less future we’re approaching, where everything is everything, and the lines between cultures even have started to blur—which gets messy at times, but I think, for the most part, it’s really cool,” Mahawam says.\u003c/p>\n\u003cp>Mahawam’s arrival also comes at a time when the rap world is beginning to open up to more than just male, heterosexual narratives. The mainstream success of Cardi B, Megan Thee Stallion and City Girls—and the rise of Cupcakke, Tierra Whack and BbyMutha on the indie front—proves rap fans crave other perspectives. But challenges persist, especially for someone like Mahawam, who is gender nonbinary. Queer, gender-nonconforming artists still face harassment and homophobia. Meanwhile, others have found an audience in the LGBTQ+ club scene rather than the mainstream rap world.\u003c/p>\n\u003cp>“I think that dilutes the effectiveness of rap as a genre, rap as a platform, hip-hop as a lifestyle,” Mahawam says of segregating acts by gender or sexuality. “That division doesn’t need to be there.”\u003c/p>\n\u003cp>Still, despite the challenges, Mahawam has found strength—and a captive audience—by simply speaking their truth and being themself. “Really at the end of the day, I don’t worry about where I sit on the gender spectrum because of my music,” says the artist. “It’s not the focus. I frequently switch genders in my music, and my pronouns even change. … I think me having that fluidity in my music and presenting the way that I look will inspire some other child who has decided to sit firmly in the middle and write what they want to write.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Mahawam performs at Amnesia on March 26. Details \u003ca href=\"https://amnesiathebar.com/calendar/late-show-mahawan-fringe-class-vverewolf-dj/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep","authors":["11387"],"categories":["arts_69"],"tags":["arts_5397","arts_3152"],"featImg":"arts_13853668","label":"arts"},"arts_13849176":{"type":"posts","id":"arts_13849176","meta":{"index":"posts_1591205157","site":"arts","id":"13849176","score":null,"sort":[1548192455000]},"guestAuthors":[],"slug":"we-are-under-attack-juanita-more-on-trumps-trans-military-ban","title":"'We Are Under Attack': Juanita MORE! on Trump's Trans Military Ban","publishDate":1548192455,"format":"standard","headTitle":"‘We Are Under Attack’: Juanita MORE! on Trump’s Trans Military Ban | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This is a guest opinion column by Juanita MORE!, a drag performer, chef, writer, activist and a leading voice of the Bay Area’s LGBTQ+ community for nearly 30 years. Learn about her work in KQED Arts’ ‘\u003ca href=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics\" target=\"_blank\" rel=\"noopener noreferrer\">Changing Face of Drag\u003c/a>‘ series and on her \u003ca href=\"http://juanitamore.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>. [contextly_sidebar id=”HM0qBamxJdAeOeYbtcE0lFZtXRbzP0Sc”]\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With this morning’s news that the Supreme Court \u003ca href=\"https://www.npr.org/2019/01/22/687368145/supreme-court-revives-trumps-ban-on-transgender-military-personnel-for-now?utm_source=twitter.com&utm_medium=social&utm_campaign=politics&utm_term=nprnews&utm_content=20190122\" target=\"_blank\" rel=\"noopener noreferrer\">reinstated\u003c/a> President Trump’s ban on transgender service members in the military, one thing is clear: we are still under attack.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While the trans community has always faced violence—for much longer than the current administration’s re-doubling of efforts to make that violence into law—the rate and magnitude of recent attacks on trans people’s civil rights are unprecedented. The Trump administration has taken quiet steps to dismantle LGBTQ health initiatives by defunding key fields of research, \u003c/span>\u003ca href=\"https://www.washingtonpost.com/national/health-science/cdc-gets-list-of-forbidden-words-fetus-transgender-diversity/2017/12/15/f503837a-e1cf-11e7-89e8-edec16379010_story.html?noredirect=on\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">prohibiting the use of the word “transgender”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in formal studies and \u003c/span>\u003ca href=\"https://www.politico.com/story/2018/02/19/trump-lgbt-rights-discrimination-353774\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">removing protections\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for LGBTQ workers and patients. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Trump administration moved to roll back other \u003c/span>\u003ca href=\"https://www.theatlantic.com/politics/archive/2017/06/the-man-behind-trumps-religious-freedom-agenda-for-health-care/528912/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">key Obama-era protections\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, including the first ever trans-inclusive prohibition on gender discrimination in healthcare. As a result, transgender individuals in many states are now being denied access to transition-related healthcare, excluded from sex-specific programs and left vulnerable to \u003c/span>\u003ca href=\"https://www.nbcnews.com/feature/nbc-out/trump-administration-exacerbating-lgbtq-health-care-discrimination-report-says-n894151\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">other forms of discrimination\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, such as being misgendered or harassed by healthcare providers. [contextly_sidebar id=”MYeg6RrsBZvUJyW7zTKUl5AYfZI3HjpJ”]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More attacks on the trans community are underway in the U.S. Department of Health and Human Services Office for Civil Rights, where \u003ca href=\"https://www.glaad.org/tap/roger-severino\" target=\"_blank\" rel=\"noopener noreferrer\">noted anti-LGBTQ bigot\u003c/a> Roger Severino has taken steps to define trans people out of existence. Under Severino’s control, the Department of Health and Human Services circulated \u003c/span>\u003ca href=\"https://www.nytimes.com/2018/10/21/us/politics/transgender-trump-administration-sex-definition.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">a memo\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> seeking to narrow the definition of gender to explicitly exclude transgender individuals from civil rights protections. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It would be truly mind-blowing if these threats weren’t so startlingly methodical and real. But the “why” of it continues to elude. Why should someone’s gender identity disqualify them from basic, fundamental rights? Callous feels too light a label for this cruelty.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13849188\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849188\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-800x450.jpg\" alt=\"Transgender Army veteran Tanya Walker speaks to protesters in Times Square near a military recruitment center as they show their anger at President Donald Trump's decision to reinstate a ban on transgender individuals from serving in the military on July 26, 2017 in New York City. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Transgender Army veteran Tanya Walker speaks to protesters in Times Square near a military recruitment center as they show their anger at President Donald Trump’s decision to reinstate a ban on transgender individuals from serving in the military on July 26, 2017 in New York City. \u003ccite>(Spencer Platt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">During my 30 years as a drag performer in San Francisco, trans people have been an essential part of my community. \u003c/span>\u003cspan style=\"font-weight: 400\">Last year, I chose \u003c/span>\u003ca href=\"https://ourtranstruth.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">TRUTH\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (TRans yoUTH), a joint program from the Transgender Law Center and GSA Network, as the beneficiary of my annual Pride event. We raised $70,000 for a \u003c/span>\u003cspan style=\"font-weight: 400\">program that seeks to amplify the voices of trans and gender non-conforming young people by offering a safe place to share struggles, learn empathy and build public understanding.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Trans youth have it hard enough, and the fact that they must confront a federal government actively seeking to erase them is devastating\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003cspan style=\"font-weight: 400\"> And the devastation is documented and real. According to the 2015 \u003c/span>\u003ca href=\"https://transequality.org/sites/default/files/docs/usts/USTS-Full-Report-Dec17.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">U.S. Transgender Survey\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, 40 percent of trans people have attempted suicide. Seventy-seven percent of trans youth have experienced some form of harassment or discrimination in school—and for 17 percent of those students, the harassment was so severe that they had to transfer or drop out. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">TRUTH is allowing trans youth to lead the way to end the isolation and stigma so that these data points can get to zero.\u003c/span>\u003cspan style=\"font-weight: 400\"> Most days, I take solace in their strength and in recognizing that they have the power to change both minds and policies by virtue of their mere existence. Their stories are human stories, and they will be my voice when I can no longer speak.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13835556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835556\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A8538-800x533.jpg\" alt=\""Loads of Love" is Juanita MORE!'s motto. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">“Loads of Love” is Juanita MORE!’s motto. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Denouncing this latest attack on our community is imperative, but change won’t come easy, and solidarity is an act beyond using your voice on social media. We need to show up for each other right now, and where it counts: in person and at the ballot. We are being ruled by a system that placates the irrational fears of middle America and the Bible belt.\u003c/span> \u003cspan style=\"font-weight: 400\">If we don’t show up to protect each other, we will be silenced. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is a self-conscious administration, and last I checked, our system still resembles a democracy. In less than two years’ time at the 2020 election, we can send a message that we are watching and listening and won’t stand for it. I am confident that message will be heard, but the statistics leave me with a sickening fear that change can’t come soon enough. [contextly_sidebar id=”OiRgQB53iVJVjbghBGOprT4CCy2d6znF”]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the words of \u003ca href=\"https://twitter.com/immissmajor/status/1046144174108508160\" target=\"_blank\" rel=\"noopener noreferrer\">Miss Major\u003c/a>, a veteran of the Stonewall Rebellion, survivor of Attica State Prison, former sex worker, elder and community leader: “After 70 years, I am here to tell you the system has always tried to break us. All we trans girls know we got to depend on each other, and when enough of us bitches come together we can [burn] it down and use the ashes to build the motherf-cking mansions we deserve!”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m with you, Miss Major. And I’m with my trans siblings, too. Let’s burn it down and rebuild what we deserve.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"\"Change won’t come easy, and solidarity is an act beyond using your voice on social media.\"","status":"publish","parent":0,"modified":1705026719,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":916},"headData":{"title":"'We Are Under Attack': Juanita MORE! on Trump's Trans Military Ban | KQED","description":""Change won’t come easy, and solidarity is an act beyond using your voice on social media."","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'We Are Under Attack': Juanita MORE! on Trump's Trans Military Ban","datePublished":"2019-01-22T21:27:35.000Z","dateModified":"2024-01-12T02:31:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Juanita MORE!","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13849176/we-are-under-attack-juanita-more-on-trumps-trans-military-ban","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This is a guest opinion column by Juanita MORE!, a drag performer, chef, writer, activist and a leading voice of the Bay Area’s LGBTQ+ community for nearly 30 years. Learn about her work in KQED Arts’ ‘\u003ca href=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics\" target=\"_blank\" rel=\"noopener noreferrer\">Changing Face of Drag\u003c/a>‘ series and on her \u003ca href=\"http://juanitamore.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With this morning’s news that the Supreme Court \u003ca href=\"https://www.npr.org/2019/01/22/687368145/supreme-court-revives-trumps-ban-on-transgender-military-personnel-for-now?utm_source=twitter.com&utm_medium=social&utm_campaign=politics&utm_term=nprnews&utm_content=20190122\" target=\"_blank\" rel=\"noopener noreferrer\">reinstated\u003c/a> President Trump’s ban on transgender service members in the military, one thing is clear: we are still under attack.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While the trans community has always faced violence—for much longer than the current administration’s re-doubling of efforts to make that violence into law—the rate and magnitude of recent attacks on trans people’s civil rights are unprecedented. The Trump administration has taken quiet steps to dismantle LGBTQ health initiatives by defunding key fields of research, \u003c/span>\u003ca href=\"https://www.washingtonpost.com/national/health-science/cdc-gets-list-of-forbidden-words-fetus-transgender-diversity/2017/12/15/f503837a-e1cf-11e7-89e8-edec16379010_story.html?noredirect=on\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">prohibiting the use of the word “transgender”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in formal studies and \u003c/span>\u003ca href=\"https://www.politico.com/story/2018/02/19/trump-lgbt-rights-discrimination-353774\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">removing protections\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for LGBTQ workers and patients. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Trump administration moved to roll back other \u003c/span>\u003ca href=\"https://www.theatlantic.com/politics/archive/2017/06/the-man-behind-trumps-religious-freedom-agenda-for-health-care/528912/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">key Obama-era protections\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, including the first ever trans-inclusive prohibition on gender discrimination in healthcare. As a result, transgender individuals in many states are now being denied access to transition-related healthcare, excluded from sex-specific programs and left vulnerable to \u003c/span>\u003ca href=\"https://www.nbcnews.com/feature/nbc-out/trump-administration-exacerbating-lgbtq-health-care-discrimination-report-says-n894151\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">other forms of discrimination\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, such as being misgendered or harassed by healthcare providers. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More attacks on the trans community are underway in the U.S. Department of Health and Human Services Office for Civil Rights, where \u003ca href=\"https://www.glaad.org/tap/roger-severino\" target=\"_blank\" rel=\"noopener noreferrer\">noted anti-LGBTQ bigot\u003c/a> Roger Severino has taken steps to define trans people out of existence. Under Severino’s control, the Department of Health and Human Services circulated \u003c/span>\u003ca href=\"https://www.nytimes.com/2018/10/21/us/politics/transgender-trump-administration-sex-definition.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">a memo\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> seeking to narrow the definition of gender to explicitly exclude transgender individuals from civil rights protections. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It would be truly mind-blowing if these threats weren’t so startlingly methodical and real. But the “why” of it continues to elude. Why should someone’s gender identity disqualify them from basic, fundamental rights? Callous feels too light a label for this cruelty.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13849188\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849188\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-800x450.jpg\" alt=\"Transgender Army veteran Tanya Walker speaks to protesters in Times Square near a military recruitment center as they show their anger at President Donald Trump's decision to reinstate a ban on transgender individuals from serving in the military on July 26, 2017 in New York City. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/trans-military-ban-GettyImages-823241398.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Transgender Army veteran Tanya Walker speaks to protesters in Times Square near a military recruitment center as they show their anger at President Donald Trump’s decision to reinstate a ban on transgender individuals from serving in the military on July 26, 2017 in New York City. \u003ccite>(Spencer Platt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">During my 30 years as a drag performer in San Francisco, trans people have been an essential part of my community. \u003c/span>\u003cspan style=\"font-weight: 400\">Last year, I chose \u003c/span>\u003ca href=\"https://ourtranstruth.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">TRUTH\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (TRans yoUTH), a joint program from the Transgender Law Center and GSA Network, as the beneficiary of my annual Pride event. We raised $70,000 for a \u003c/span>\u003cspan style=\"font-weight: 400\">program that seeks to amplify the voices of trans and gender non-conforming young people by offering a safe place to share struggles, learn empathy and build public understanding.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Trans youth have it hard enough, and the fact that they must confront a federal government actively seeking to erase them is devastating\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003cspan style=\"font-weight: 400\"> And the devastation is documented and real. According to the 2015 \u003c/span>\u003ca href=\"https://transequality.org/sites/default/files/docs/usts/USTS-Full-Report-Dec17.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">U.S. Transgender Survey\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, 40 percent of trans people have attempted suicide. Seventy-seven percent of trans youth have experienced some form of harassment or discrimination in school—and for 17 percent of those students, the harassment was so severe that they had to transfer or drop out. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">TRUTH is allowing trans youth to lead the way to end the isolation and stigma so that these data points can get to zero.\u003c/span>\u003cspan style=\"font-weight: 400\"> Most days, I take solace in their strength and in recognizing that they have the power to change both minds and policies by virtue of their mere existence. Their stories are human stories, and they will be my voice when I can no longer speak.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13835556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835556\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A8538-800x533.jpg\" alt=\""Loads of Love" is Juanita MORE!'s motto. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">“Loads of Love” is Juanita MORE!’s motto. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Denouncing this latest attack on our community is imperative, but change won’t come easy, and solidarity is an act beyond using your voice on social media. We need to show up for each other right now, and where it counts: in person and at the ballot. We are being ruled by a system that placates the irrational fears of middle America and the Bible belt.\u003c/span> \u003cspan style=\"font-weight: 400\">If we don’t show up to protect each other, we will be silenced. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is a self-conscious administration, and last I checked, our system still resembles a democracy. In less than two years’ time at the 2020 election, we can send a message that we are watching and listening and won’t stand for it. I am confident that message will be heard, but the statistics leave me with a sickening fear that change can’t come soon enough. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the words of \u003ca href=\"https://twitter.com/immissmajor/status/1046144174108508160\" target=\"_blank\" rel=\"noopener noreferrer\">Miss Major\u003c/a>, a veteran of the Stonewall Rebellion, survivor of Attica State Prison, former sex worker, elder and community leader: “After 70 years, I am here to tell you the system has always tried to break us. All we trans girls know we got to depend on each other, and when enough of us bitches come together we can [burn] it down and use the ashes to build the motherf-cking mansions we deserve!”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m with you, Miss Major. And I’m with my trans siblings, too. Let’s burn it down and rebuild what we deserve.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13849176/we-are-under-attack-juanita-more-on-trumps-trans-military-ban","authors":["byline_arts_13849176"],"categories":["arts_2303","arts_835"],"tags":["arts_6475","arts_5133","arts_2767","arts_1753","arts_1118","arts_2215","arts_3226","arts_3152","arts_596","arts_6470","arts_702"],"featImg":"arts_13849183","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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