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"content": "\u003cp>The rich LGBT history of the Tenderloin goes back farther than any bricks thrown at Stonewall, and Transgender Cultural District President and Chief Strategist Aria Sa’id makes it her job to preserve that history. Her work in securing tenant protections, workforce development, arts and cultural heritage preservation, and cultural competency for the residents of the historic Tenderloin neighborhood has taken the idea of ‘safe space’ beyond the bars and into our daily lives. Sa’id speaks with us about what makes a space ‘safe,’ and the effect that empowering the most vulnerable within a community has on the rest of us.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6471840865\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are some lightly edited excerpts of the episode with Aria Sa’id.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Aria:\u003c/strong> I’m originally from the Pacific Northwest and Northeast Portland, I had transitioned in high school and just was really struggling to find a place and often always felt like the odd one out… Everyone in my life at that point had told me to come to San Francisco. And I’ll never forget coming to the Tenderloin and seeing two Latina trans women coming out of like a corner store. And they had their little, oh my gosh, what are those dogs called like? Shitzu. And they were just getting coffee. And, you know, I had never seen that. I had always been the only trans person that I knew in my life. And I think just seeing the normalcy of it, like I was just gawking from across the street, like, Oh my God, somebody like me. And there’s two of them, and they’re literally just, you know, two women going to get coffee in the middle of the morning. But to me, that was such a big thing because I’d never seen that and living in the Tenderloin is when I found that experience of home.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey:\u003c/strong> It’s easy to think that the heavy LGBT presence in the Tenderloin just poofed into existence one day, but that’s not the case.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Aria:\u003c/strong> I never thought to think about why that was. At some point. I had met trans historians like Dr. Susan Stryker, who, you know, told me that there were trans people that had been continuously living in our neighborhood since the 1920s, and that often it was by design… So at that time it was illegal to be trans… There were laws in San Francisco that you could not wear more than three articles of clothing belonging to the other sex or gender.\u003c/p>\n\u003cp>And at that time, living in an SRO is very glamorous… in the Tenderloin there used to be a string of jazz clubs… Duke Ellington… Billie Holiday… Ella Fitzgerald… All these are these different greats. James Baldwin and everybody in between were frequently coming to San Francisco from New York and Paris. And many trans women were, you know, doing sex work cabaret shows, burlesque at that time and living and working in the Tenderloin… And we don’t even know [this history] because who’s teaching out in the school?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey:\u003c/strong> There are a lot of places in the Cultural District that look pretty unassuming at first glance, but they hold real history.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Aria:\u003c/strong> Turk and Taylor is the center of the Transgender District, but historically it’s an intersection that had a restaurant called Gene Compton’s Cafeteria, and it was a late night diner. Because it was the Tenderloin, the girls would come through and they would frequent the diner, but Gene Compton did not like that at all… And so the owner would often call the police.\u003c/p>\n\u003cp>One hot Indian summer August night in 1966, a trans woman who also was a drag queen, Vicki Marlene threw a cup of hot coffee in an officer’s face right before being arrested. And a riot ensued in the cafeteria. Drag queens getting their faces smashed into the pavement. Trans folks fighting back, queer folks jumping on officers. I mean, it was a riot and it was a catalyst in the United States.\u003c/p>\n\u003cp>We would see Cooper’s donuts in L.A. there would be riots in Philly. And then, of course, the big Beyoncé of the group, Stonewall, which sort of set the new wave into the gay liberation movement.\u003c/p>\n\u003cp>The Turk and Taylor intersection is still quite historic for us as trans people. But the site of the riot is actually owned by a private for-profit prison company called Geo Group, which is literally, I think, what many you know trans and queer folks are fighting against.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey:\u003c/strong> Alongside Honey Mahogany and Janetta Johnson, you are one of the three co-founders of the Transgender Cultural District. Why did y’all create it?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Aria:\u003c/strong> We started our work in 2016. A luxury sort of developer that was coming in and tearing down a building right behind Turk and Taylor, they had determined that there was no prominent LGBT histories in the neighborhood and had chosen not to work with the queer and trans community in the neighborhood as well, the Tenderloin was sort of this last frontier of development and gentrification. And so that was our fight.\u003c/p>\n\u003cp>Over 75 percent of the trans folks living in the Tenderloin are living in abject poverty on less than $10,000 a year… to the developer, they didn’t care. They felt like… by building, they were adding to the neighborhood or making it better. But I think people forget that there are people living in the neighborhood already marginalized and disenfranchised. And because of that looming displacement, where else would they go in terms of safety?\u003c/p>\n\u003cp>[The Transgender Cultural District] became legally recognized in January 2017, and it then became world news and we were like shocked because then, you know, we’re getting calls from like Swedish Public Radio or like Switzerland or the Daily Mail in the U.K. And obviously, you know, we got so much love, you know, and LGBT media in the United States and our community was just, like, really outspokenly excited about the possibilities and we were having like town halls.\u003c/p>\n\u003cp>I think it was complicated because, you know, we became legally recognized and then months later, nothing. There was no funding. Though the developer was legally obligated to give us funding from the community benefits effort, we didn’t realize that they legally didn’t have to do it until they broke ground. And so, you know, those funds didn’t even come into last year.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey:\u003c/strong>: This is where Aria’s work as executive director comes in. It’s all about filling and funding those gaps, building partnerships with NGO’s that help people get access to housing, food, and jobs…\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Aria:\u003c/strong> We’ll be launching guaranteed income for transgender people who are living in abject poverty, and they’ll be provided with $1000 a month for 18 months. And that’s been a replication of the universal basic income program that happened in Stockton, California, and their mayor, Michael Tubbs. To me, those are forms of reparations as we fight for black trans people, specifically. Creating a safety net for our folks, it’s the most important thing that the transgender district is building right now.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey:\u003c/strong> To have a cultural district, you need to uplift the culture. One way they set about doing that was using flags to make trans support visible… To put out into the world that trans people matter that they belong here, and that this belonging is recognized in the landscape of the neighborhood.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Aria:\u003c/strong> One of the first big things that we wanted to do was to make sure that people could see the trans flags. I used to joke, like, I’m transgender nine-to-five, because when you have the job of intellectualizing your gender identity and then translating that for public consumption and explaining to people what pronouns are and explaining to people, why trans people are who they say they are every single day, day in and day out, I think you grow weary…\u003c/p>\n\u003cp>And so when they painted those flags, I remember people texting me photos and then I went outside and I got to see the trans flags on the light pole. And never in my life had I been so proud to be a transgender woman. And like knowing that so many trans folks have come before me to pave the way for the freedoms that we have now and that we’ve inherited. A little bit of freedom, honey, but freedom nonetheless. It just was such a beautiful moment.\u003c/p>\n\u003cp>I was always raised that we have to be twice as good to get half as much as white folks. As a leader there is a double standard. We are triple audited compared to white organizations that may not even be audited by funders. It’s interesting because I have those experiences. I’m always a step ahead. So funders will literally be like, we’d like to sort of see where the funds have been spent. In ten minutes, I’m going through our server like, here you go, girl. Click Click, Click Click. Here’s a year’s worth of receipts!\u003c/p>\n\u003cp>And I think because the overwhelming majority of philanthropic donors, as well as philanthropy institutions, are led and facilitated by white people, they tend to inherently trust people that look like them, as opposed to us. We have this stigma. I’m a blonde Black trans woman. Child, bye! They think I just got off the track yesterday. They don’t have trust in Black leaders. And so you almost have to suspend their disbelief and sort of co-facilitate a paradigm shift for them to understand, that the people who are facing the disparity should be the ones leading the solutions.\u003c/p>\n\u003cp>Everyone says that they want to see trans people empowered. But trust me, and I use my girls at the Transgender District as a focus group … The way the world receives them now that they’re more economically empowered than they ever have been, is such a jarring experience because it’s almost like people love the idea of empowering trans people, but they’re not married to it because it then challenges this idea that we should be infantilized.\u003c/p>\n\u003cp>Some of the most beautiful moments of joy that I’ve had as a black trans person were when I was doing survival sex work in the Tenderloin on Polk and Post. And I was with other girls and we had nowhere to stay. We barely had access to food or shelter or what have you. But the way that we would come together and kiki and laugh and have joy while we were working, like we’d be waiting on the block, you know, for customers to circle around. And that was when we would read each other and laugh and like, tell jokes. And those are the moments that stick with me, because it reminds me that, you know, even in our disenfranchisement, Black trans joy is a revolutionary act. The self-care of Black bodies is a revolution.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The rich LGBT history of the Tenderloin goes back farther than any bricks thrown at Stonewall, and Transgender Cultural District President and Chief Strategist Aria Sa’id makes it her job to preserve that history. Her work in securing tenant protections, workforce development, arts and cultural heritage preservation, and cultural competency for the residents of the historic Tenderloin neighborhood has taken the idea of ‘safe space’ beyond the bars and into our daily lives. Sa’id speaks with us about what makes a space ‘safe,’ and the effect that empowering the most vulnerable within a community has on the rest of us.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6471840865\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are some lightly edited excerpts of the episode with Aria Sa’id.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Aria:\u003c/strong> I’m originally from the Pacific Northwest and Northeast Portland, I had transitioned in high school and just was really struggling to find a place and often always felt like the odd one out… Everyone in my life at that point had told me to come to San Francisco. And I’ll never forget coming to the Tenderloin and seeing two Latina trans women coming out of like a corner store. 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I had met trans historians like Dr. Susan Stryker, who, you know, told me that there were trans people that had been continuously living in our neighborhood since the 1920s, and that often it was by design… So at that time it was illegal to be trans… There were laws in San Francisco that you could not wear more than three articles of clothing belonging to the other sex or gender.\u003c/p>\n\u003cp>And at that time, living in an SRO is very glamorous… in the Tenderloin there used to be a string of jazz clubs… Duke Ellington… Billie Holiday… Ella Fitzgerald… All these are these different greats. James Baldwin and everybody in between were frequently coming to San Francisco from New York and Paris. And many trans women were, you know, doing sex work cabaret shows, burlesque at that time and living and working in the Tenderloin… And we don’t even know [this history] because who’s teaching out in the school?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey:\u003c/strong> There are a lot of places in the Cultural District that look pretty unassuming at first glance, but they hold real history.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Aria:\u003c/strong> Turk and Taylor is the center of the Transgender District, but historically it’s an intersection that had a restaurant called Gene Compton’s Cafeteria, and it was a late night diner. Because it was the Tenderloin, the girls would come through and they would frequent the diner, but Gene Compton did not like that at all… And so the owner would often call the police.\u003c/p>\n\u003cp>One hot Indian summer August night in 1966, a trans woman who also was a drag queen, Vicki Marlene threw a cup of hot coffee in an officer’s face right before being arrested. And a riot ensued in the cafeteria. Drag queens getting their faces smashed into the pavement. Trans folks fighting back, queer folks jumping on officers. I mean, it was a riot and it was a catalyst in the United States.\u003c/p>\n\u003cp>We would see Cooper’s donuts in L.A. there would be riots in Philly. And then, of course, the big Beyoncé of the group, Stonewall, which sort of set the new wave into the gay liberation movement.\u003c/p>\n\u003cp>The Turk and Taylor intersection is still quite historic for us as trans people. But the site of the riot is actually owned by a private for-profit prison company called Geo Group, which is literally, I think, what many you know trans and queer folks are fighting against.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey:\u003c/strong> Alongside Honey Mahogany and Janetta Johnson, you are one of the three co-founders of the Transgender Cultural District. Why did y’all create it?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Aria:\u003c/strong> We started our work in 2016. A luxury sort of developer that was coming in and tearing down a building right behind Turk and Taylor, they had determined that there was no prominent LGBT histories in the neighborhood and had chosen not to work with the queer and trans community in the neighborhood as well, the Tenderloin was sort of this last frontier of development and gentrification. And so that was our fight.\u003c/p>\n\u003cp>Over 75 percent of the trans folks living in the Tenderloin are living in abject poverty on less than $10,000 a year… to the developer, they didn’t care. They felt like… by building, they were adding to the neighborhood or making it better. But I think people forget that there are people living in the neighborhood already marginalized and disenfranchised. And because of that looming displacement, where else would they go in terms of safety?\u003c/p>\n\u003cp>[The Transgender Cultural District] became legally recognized in January 2017, and it then became world news and we were like shocked because then, you know, we’re getting calls from like Swedish Public Radio or like Switzerland or the Daily Mail in the U.K. And obviously, you know, we got so much love, you know, and LGBT media in the United States and our community was just, like, really outspokenly excited about the possibilities and we were having like town halls.\u003c/p>\n\u003cp>I think it was complicated because, you know, we became legally recognized and then months later, nothing. There was no funding. Though the developer was legally obligated to give us funding from the community benefits effort, we didn’t realize that they legally didn’t have to do it until they broke ground. And so, you know, those funds didn’t even come into last year.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey:\u003c/strong>: This is where Aria’s work as executive director comes in. It’s all about filling and funding those gaps, building partnerships with NGO’s that help people get access to housing, food, and jobs…\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Aria:\u003c/strong> We’ll be launching guaranteed income for transgender people who are living in abject poverty, and they’ll be provided with $1000 a month for 18 months. And that’s been a replication of the universal basic income program that happened in Stockton, California, and their mayor, Michael Tubbs. To me, those are forms of reparations as we fight for black trans people, specifically. Creating a safety net for our folks, it’s the most important thing that the transgender district is building right now.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey:\u003c/strong> To have a cultural district, you need to uplift the culture. One way they set about doing that was using flags to make trans support visible… To put out into the world that trans people matter that they belong here, and that this belonging is recognized in the landscape of the neighborhood.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Aria:\u003c/strong> One of the first big things that we wanted to do was to make sure that people could see the trans flags. I used to joke, like, I’m transgender nine-to-five, because when you have the job of intellectualizing your gender identity and then translating that for public consumption and explaining to people what pronouns are and explaining to people, why trans people are who they say they are every single day, day in and day out, I think you grow weary…\u003c/p>\n\u003cp>And so when they painted those flags, I remember people texting me photos and then I went outside and I got to see the trans flags on the light pole. And never in my life had I been so proud to be a transgender woman. And like knowing that so many trans folks have come before me to pave the way for the freedoms that we have now and that we’ve inherited. A little bit of freedom, honey, but freedom nonetheless. It just was such a beautiful moment.\u003c/p>\n\u003cp>I was always raised that we have to be twice as good to get half as much as white folks. As a leader there is a double standard. We are triple audited compared to white organizations that may not even be audited by funders. It’s interesting because I have those experiences. I’m always a step ahead. So funders will literally be like, we’d like to sort of see where the funds have been spent. In ten minutes, I’m going through our server like, here you go, girl. Click Click, Click Click. Here’s a year’s worth of receipts!\u003c/p>\n\u003cp>And I think because the overwhelming majority of philanthropic donors, as well as philanthropy institutions, are led and facilitated by white people, they tend to inherently trust people that look like them, as opposed to us. We have this stigma. I’m a blonde Black trans woman. Child, bye! They think I just got off the track yesterday. They don’t have trust in Black leaders. And so you almost have to suspend their disbelief and sort of co-facilitate a paradigm shift for them to understand, that the people who are facing the disparity should be the ones leading the solutions.\u003c/p>\n\u003cp>Everyone says that they want to see trans people empowered. But trust me, and I use my girls at the Transgender District as a focus group … The way the world receives them now that they’re more economically empowered than they ever have been, is such a jarring experience because it’s almost like people love the idea of empowering trans people, but they’re not married to it because it then challenges this idea that we should be infantilized.\u003c/p>\n\u003cp>Some of the most beautiful moments of joy that I’ve had as a black trans person were when I was doing survival sex work in the Tenderloin on Polk and Post. And I was with other girls and we had nowhere to stay. We barely had access to food or shelter or what have you. But the way that we would come together and kiki and laugh and have joy while we were working, like we’d be waiting on the block, you know, for customers to circle around. And that was when we would read each other and laugh and like, tell jokes. And those are the moments that stick with me, because it reminds me that, you know, even in our disenfranchisement, Black trans joy is a revolutionary act. The self-care of Black bodies is a revolution.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When Rodney Barnette first moved to San Francisco in 1969, he noticed that “it wasn’t all rah rah gay capital of the world.” His experiences with racism in San Francisco’s historic gay community led him to open the New Eagle Creek Saloon, the city’s first Black-owned gay bar, in 1990. Over 30 years later, Barnette speaks about why Black-affirming queer spaces are still needed, and what he took away from his experience operating one.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5125278989\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of the episode with Rodney Barnette and his daughter Sadie Barnette.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: Tell me about your first time getting adjusted to the gay community here in San Francisco.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: When I first moved here, it wasn’t known as the gay capital of the United States. Most of the activity was on Polk Street, but eventually things shifted to the Castro district. They started opening more restaurants … and the more white gay men that came, the more racist it got. That’s when we started getting carded, three pieces of I.D. to go in these bars. The bartender, they were always white and they would bypass you. Some of them had goons as security guards. There were fights that broke out at places that I went to that got so humiliating that I swore I would not go back because it can be dangerous for me or somebody else to be there.\u003c/p>\n\u003cp>You know, things were so bad that they even created racist language to depict if a white gay guy had Black gay friends or was attracted to Black people. They came up with the term Dinge queen—Dinge means dirty. That’s how thorough the racism was.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: (narration) We brunch now, but back in the day, the bars were the cornerstone of the queer social scene … How are you supposed to feel welcome in a community if you have to defend your humanity every time you go out? \u003c/em>\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: Eventually you got the impetus to start to own a bar, to start a bar. But where did it come from?\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: There was a bar back in the 70s that Black people felt comfortable going to. It was not in the Castro, It was called Bojangles. But … when we left the bar, the San Francisco Police Department was waiting outside with paddy wagons and arresting Black gay people who were standing around talking, trying to exchange numbers. So you always felt like you had to almost run to get away from being arrested.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: You told me a story earlier about Deniece Williams at a bar.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: She had a new album out, and it was so beautiful. It turned out that she was going to be performing at one of these bars up in North Beach. And we had already had bad experiences trying to get in there, carding us with three pieces of I.D. and dress codes, so we never really went there. But we said, OK, we’re going to go see Deniece Williams. Deniece Williams came out and she started performing and singing beautiful songs, and we started clapping and cheering and then between songs, she said, ‘Wow, you guys really liked the music. I can see that you’re responding. How come there aren’t more people here?’ And almost in unison we all said, ‘Because it’s a racist gay bar.’ It’s not that she wasn’t popular, there were things restricting access to her performance.\u003c/p>\n\u003cp>Rodney Barnette: I felt like we had an opportunity to make a difference in the community. I always knew that there weren’t any Black-owned gay bars in San Francisco. This was in the late 80s, like 1989. There was a bar. It was actually called the Eagle Creek Saloon. And the owner was selling the bar. The white man’s name was John, and I knew him, and he approached me and he said, ‘Rodney, do you want to buy my bar?’ I said, ‘Wow, I’d love to, but I don’t have money.’ So he said, ‘I want to sell this bar to a Black man.’ I said, ‘Wow, OK, I’mma figure on how to get money together and buy this bar.’ We got enough money to buy the bar and my family was active in every way to get it going. And finally, when it got transferred into my name, my brothers came up, I had one brother who was a contractor, another brother who was an electrician.\u003c/p>\n\u003cp>My brothers always knew that I was gay and I never tried to hide it, but they got a lot closer and understood every aspect of being gay. They became friends with other gay customers and so forth, and they weren’t gay. But you know, it was a good experience, a good family venture that we went into.\u003c/p>\n\u003cp>And I never expected the bar would be just for Black people. I wanted everybody to be welcome there. And when it finally got turned over into my name, it was a big relief because something could have happened along the way. The neighbors could have contested a liquor license being transferred in that building and so forth, so it was a big relief.\u003c/p>\n\u003cp>I changed the name to the New Eagle Creek Saloon instead of just the Eagle Creek. The idea is that you keep the old name because people from different countries come looking for it and so forth. So it was great cause for a great celebration. We wound up having eight bartenders. We had women DJs, which they didn’t have at that time in any of these gay bars. They didn’t have any Black DJs. So we were able to provide the entertainment that people wanted and provide employment for talented Black people that weren’t able to express themselves in other establishments in San Francisco.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: And in that way, I guess it was sort of like, yes, it’s a bar, but then it sort of functions as a community center.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: Exactly. And that’s what we would call it, a community center that served alcohol … We celebrated people’s birthdays when they had a birthday, we had food and cakes and champagne … Our customers were able to get involved and somebody came up and said, ‘Well, here’s a slogan Rodney: A friendly place with a funky bass for every race.’ And that was perfect because we wanted to let people know everybody was invited and welcomed there.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): The New Eagle Creek Saloon had the formula for success: a dedicated clientele, a passionate owner, and a catchy slogan. It was also everything they needed to attract haters. Soon after the bar opened, the Bay Area Reporter ran a story that tried to scare other people from going.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: [The article was] pretty much implying that somebody got killed one time for hanging around with Black people or rough trade or whatever. So, you know, they were advising people to be leery of going to places like the New Eagle Creek Saloon. So our customers once again were outraged at that, and we sat down with a couple of our customers and wrote up a reply, demanding that they retract that article. And they actually did.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): This was 1991 in San Francisco. The same year Magic Johnson publicly announced that he was HIV-positive, a year before AIDS would become a leading cause of death for young American men and several years after Rodney lost a brother to AIDS. \u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: I saw how badly he suffered with the illness, but that was one of the things that drove me to want to do something about the AIDS epidemic… So we did fundraisers, and eventually there were marches and candlelight vigils that took place right on Market Street. So we would shut the bar down when people were marching by and participate in the march to City Hall demanding that they fund AIDS research. We had a group of people that put in an interactive video game that showed people what safe sex was. And that might sound crazy, or anybody should know it, but it showed people a safe way to have safe sex. It was interactive and it was the first of its kind and we were honored to have it in our bar. It wasn’t put anywhere else before it was put in the Eagle Creek.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): It was an arcade-style machine, where the goal was to pick the safest sexual option, a sort of choose your own adventure. And while a video game that teaches safe sex may sound obsolete now, most of the government-sponsored campaigns advertising safe sex as a way to prevent AIDS weren’t really aimed at Black people. So Rodney giving his patrons a lil’ education with the libation is community activism at its core. \u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: One of the things that people wanted, they said, ‘Rodney, we never had representation in the gay pride parade.’ So we figured out, well, maybe we can raise money – because it’s expensive. We sold 50 cent plastic cups of beer on Sunday. And a lot of people would come out. So we raised money that way and we got an actual committee together to get the float in the parade. We had one guy whose name was Mario. He designed all these costumes for people that were going to be on the float. We had a Black lesbian woman as the DJ. She played music in the bar a lot. And my daughter was six years old and she had a special costume made for her. And we dressed reflecting different generations of Black people.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: And we’re actually also joined by Rodney’s daughter, Sadie Barnette, who is an amazing artist in her own right… What do you remember about this parade?\u003c/em>\u003c/p>\n\u003cp>Sadie Barnette: I would have been, yes, six or seven years old, and I definitely remember it almost as a fairy tale. I remember going to the bar to try on my costume and just feeling so special and like a princess. I can’t remember the name on the float … I call it like Black people through the ages because it was like Egyptian costumes, Victorian costumes … throughout the arc of human history…\u003c/p>\n\u003cp>Rodney Barnette: When we turned the corner, there was a roar that went out the entire length of the parade. People were cheering us because it’s clearly a different float from everybody else’s float. We’re not just observers, people standing on the sideline watching gay pride. We’re part of it.\u003c/p>\n\u003cp>Rodney Barnette: … Something happened to the economy and all the bars were kind of suffering. I didn’t own the property, or the building that the bar was in. And rent skyrocketed. It was on Market Street, one of the most expensive rental places in the city, and I couldn’t keep paying the rent; the bar closed at the end of 1993.\u003c/p>\n\u003cp>What’s so ironic is some of these bars came out with Black Night, right? You could come on a Wednesday night and that’s when we play Black music and we won’t ask you for three pieces of I.D. So that’s what they had to resort to to stay in business.\u003c/p>\n\u003cp>Any time I would run into somebody that went to the [New Eagle Creek Saloon], they had this feeling of, ‘Wow, I wish it was still here.’\u003c/p>\n\u003cp>To tell you the truth, last night I ran into somebody I hadn’t seen in many years, and he realized it was me that I had owned the bar. He came there and we had a birthday party for him. And he came up and hugged me and just started crying and talked about the need for us to get together because there’s never been a place like that since then. So it touched people in a real meaningful way.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): And Sadie commemorates that place—the beauty, history, and resistance—in dope art installations. Since making exhibits featuring the FBI files on her father and photos from his time with the Black Panthers, she was also commissioned [by \u003ca href=\"https://www.thelab.org/commissions\">The Lab]\u003c/a> to build a re-imagined version of the New Eagle Creek Saloon’s bar, a recreation that you can actually step inside.\u003c/em>\u003c/p>\n\u003cp>Sadie Barnette: The name of the Eagle Creek Saloon, while it was in people’s hearts and meant so much to people who were there, it wasn’t something that was referenced in Netflix’s documentaries. It wasn’t something that grad students were studying. There was not a big paper trail of the Eagle Creek Saloon. And so for me, it was important to make sure that the name wasn’t lost and to do that through having really fun parties seemed like a great way to do it.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Rodney Barnette first moved to San Francisco in 1969, he noticed that “it wasn’t all rah rah gay capital of the world.” His experiences with racism in San Francisco’s historic gay community led him to open the New Eagle Creek Saloon, the city’s first Black-owned gay bar, in 1990. Over 30 years later, Barnette speaks about why Black-affirming queer spaces are still needed, and what he took away from his experience operating one.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5125278989\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of the episode with Rodney Barnette and his daughter Sadie Barnette.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: Tell me about your first time getting adjusted to the gay community here in San Francisco.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: When I first moved here, it wasn’t known as the gay capital of the United States. Most of the activity was on Polk Street, but eventually things shifted to the Castro district. They started opening more restaurants … and the more white gay men that came, the more racist it got. That’s when we started getting carded, three pieces of I.D. to go in these bars. The bartender, they were always white and they would bypass you. Some of them had goons as security guards. There were fights that broke out at places that I went to that got so humiliating that I swore I would not go back because it can be dangerous for me or somebody else to be there.\u003c/p>\n\u003cp>You know, things were so bad that they even created racist language to depict if a white gay guy had Black gay friends or was attracted to Black people. They came up with the term Dinge queen—Dinge means dirty. That’s how thorough the racism was.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: (narration) We brunch now, but back in the day, the bars were the cornerstone of the queer social scene … How are you supposed to feel welcome in a community if you have to defend your humanity every time you go out? \u003c/em>\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: Eventually you got the impetus to start to own a bar, to start a bar. But where did it come from?\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: There was a bar back in the 70s that Black people felt comfortable going to. It was not in the Castro, It was called Bojangles. But … when we left the bar, the San Francisco Police Department was waiting outside with paddy wagons and arresting Black gay people who were standing around talking, trying to exchange numbers. So you always felt like you had to almost run to get away from being arrested.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: You told me a story earlier about Deniece Williams at a bar.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: She had a new album out, and it was so beautiful. It turned out that she was going to be performing at one of these bars up in North Beach. And we had already had bad experiences trying to get in there, carding us with three pieces of I.D. and dress codes, so we never really went there. But we said, OK, we’re going to go see Deniece Williams. Deniece Williams came out and she started performing and singing beautiful songs, and we started clapping and cheering and then between songs, she said, ‘Wow, you guys really liked the music. I can see that you’re responding. How come there aren’t more people here?’ And almost in unison we all said, ‘Because it’s a racist gay bar.’ It’s not that she wasn’t popular, there were things restricting access to her performance.\u003c/p>\n\u003cp>Rodney Barnette: I felt like we had an opportunity to make a difference in the community. I always knew that there weren’t any Black-owned gay bars in San Francisco. This was in the late 80s, like 1989. There was a bar. It was actually called the Eagle Creek Saloon. And the owner was selling the bar. The white man’s name was John, and I knew him, and he approached me and he said, ‘Rodney, do you want to buy my bar?’ I said, ‘Wow, I’d love to, but I don’t have money.’ So he said, ‘I want to sell this bar to a Black man.’ I said, ‘Wow, OK, I’mma figure on how to get money together and buy this bar.’ We got enough money to buy the bar and my family was active in every way to get it going. And finally, when it got transferred into my name, my brothers came up, I had one brother who was a contractor, another brother who was an electrician.\u003c/p>\n\u003cp>My brothers always knew that I was gay and I never tried to hide it, but they got a lot closer and understood every aspect of being gay. They became friends with other gay customers and so forth, and they weren’t gay. But you know, it was a good experience, a good family venture that we went into.\u003c/p>\n\u003cp>And I never expected the bar would be just for Black people. I wanted everybody to be welcome there. And when it finally got turned over into my name, it was a big relief because something could have happened along the way. The neighbors could have contested a liquor license being transferred in that building and so forth, so it was a big relief.\u003c/p>\n\u003cp>I changed the name to the New Eagle Creek Saloon instead of just the Eagle Creek. The idea is that you keep the old name because people from different countries come looking for it and so forth. So it was great cause for a great celebration. We wound up having eight bartenders. We had women DJs, which they didn’t have at that time in any of these gay bars. They didn’t have any Black DJs. So we were able to provide the entertainment that people wanted and provide employment for talented Black people that weren’t able to express themselves in other establishments in San Francisco.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: And in that way, I guess it was sort of like, yes, it’s a bar, but then it sort of functions as a community center.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: Exactly. And that’s what we would call it, a community center that served alcohol … We celebrated people’s birthdays when they had a birthday, we had food and cakes and champagne … Our customers were able to get involved and somebody came up and said, ‘Well, here’s a slogan Rodney: A friendly place with a funky bass for every race.’ And that was perfect because we wanted to let people know everybody was invited and welcomed there.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): The New Eagle Creek Saloon had the formula for success: a dedicated clientele, a passionate owner, and a catchy slogan. It was also everything they needed to attract haters. Soon after the bar opened, the Bay Area Reporter ran a story that tried to scare other people from going.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: [The article was] pretty much implying that somebody got killed one time for hanging around with Black people or rough trade or whatever. So, you know, they were advising people to be leery of going to places like the New Eagle Creek Saloon. So our customers once again were outraged at that, and we sat down with a couple of our customers and wrote up a reply, demanding that they retract that article. And they actually did.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): This was 1991 in San Francisco. The same year Magic Johnson publicly announced that he was HIV-positive, a year before AIDS would become a leading cause of death for young American men and several years after Rodney lost a brother to AIDS. \u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: I saw how badly he suffered with the illness, but that was one of the things that drove me to want to do something about the AIDS epidemic… So we did fundraisers, and eventually there were marches and candlelight vigils that took place right on Market Street. So we would shut the bar down when people were marching by and participate in the march to City Hall demanding that they fund AIDS research. We had a group of people that put in an interactive video game that showed people what safe sex was. And that might sound crazy, or anybody should know it, but it showed people a safe way to have safe sex. It was interactive and it was the first of its kind and we were honored to have it in our bar. It wasn’t put anywhere else before it was put in the Eagle Creek.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): It was an arcade-style machine, where the goal was to pick the safest sexual option, a sort of choose your own adventure. And while a video game that teaches safe sex may sound obsolete now, most of the government-sponsored campaigns advertising safe sex as a way to prevent AIDS weren’t really aimed at Black people. So Rodney giving his patrons a lil’ education with the libation is community activism at its core. \u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: One of the things that people wanted, they said, ‘Rodney, we never had representation in the gay pride parade.’ So we figured out, well, maybe we can raise money – because it’s expensive. We sold 50 cent plastic cups of beer on Sunday. And a lot of people would come out. So we raised money that way and we got an actual committee together to get the float in the parade. We had one guy whose name was Mario. He designed all these costumes for people that were going to be on the float. We had a Black lesbian woman as the DJ. She played music in the bar a lot. And my daughter was six years old and she had a special costume made for her. And we dressed reflecting different generations of Black people.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: And we’re actually also joined by Rodney’s daughter, Sadie Barnette, who is an amazing artist in her own right… What do you remember about this parade?\u003c/em>\u003c/p>\n\u003cp>Sadie Barnette: I would have been, yes, six or seven years old, and I definitely remember it almost as a fairy tale. I remember going to the bar to try on my costume and just feeling so special and like a princess. I can’t remember the name on the float … I call it like Black people through the ages because it was like Egyptian costumes, Victorian costumes … throughout the arc of human history…\u003c/p>\n\u003cp>Rodney Barnette: When we turned the corner, there was a roar that went out the entire length of the parade. People were cheering us because it’s clearly a different float from everybody else’s float. We’re not just observers, people standing on the sideline watching gay pride. We’re part of it.\u003c/p>\n\u003cp>Rodney Barnette: … Something happened to the economy and all the bars were kind of suffering. I didn’t own the property, or the building that the bar was in. And rent skyrocketed. It was on Market Street, one of the most expensive rental places in the city, and I couldn’t keep paying the rent; the bar closed at the end of 1993.\u003c/p>\n\u003cp>What’s so ironic is some of these bars came out with Black Night, right? You could come on a Wednesday night and that’s when we play Black music and we won’t ask you for three pieces of I.D. So that’s what they had to resort to to stay in business.\u003c/p>\n\u003cp>Any time I would run into somebody that went to the [New Eagle Creek Saloon], they had this feeling of, ‘Wow, I wish it was still here.’\u003c/p>\n\u003cp>To tell you the truth, last night I ran into somebody I hadn’t seen in many years, and he realized it was me that I had owned the bar. He came there and we had a birthday party for him. And he came up and hugged me and just started crying and talked about the need for us to get together because there’s never been a place like that since then. So it touched people in a real meaningful way.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): And Sadie commemorates that place—the beauty, history, and resistance—in dope art installations. Since making exhibits featuring the FBI files on her father and photos from his time with the Black Panthers, she was also commissioned [by \u003ca href=\"https://www.thelab.org/commissions\">The Lab]\u003c/a> to build a re-imagined version of the New Eagle Creek Saloon’s bar, a recreation that you can actually step inside.\u003c/em>\u003c/p>\n\u003cp>Sadie Barnette: The name of the Eagle Creek Saloon, while it was in people’s hearts and meant so much to people who were there, it wasn’t something that was referenced in Netflix’s documentaries. It wasn’t something that grad students were studying. There was not a big paper trail of the Eagle Creek Saloon. And so for me, it was important to make sure that the name wasn’t lost and to do that through having really fun parties seemed like a great way to do it.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Queer As Folk' Gets a Stiletto-Heeled Reboot That Takes Time to Feel Comfortable",
"headTitle": "‘Queer As Folk’ Gets a Stiletto-Heeled Reboot That Takes Time to Feel Comfortable | KQED",
"content": "\u003cp>If you’ve been tasked with rebooting\u003cem> Queer as Folk \u003c/em>for the present day, and wish to stick to the general narrative parameters shared by both the original U.K. series and the U.S. series that followed (they ran on Channel 4 and Showtime, respectively, back at the turn of the century), here’s what you will need to bring to the table.\u003c/p>\n\u003cp>1. A blithe, defiantly melodramatic sensibility (\u003cem>QaF\u003c/em> is a soap, first, last and always) and a cast of …\u003c/p>\n\u003cp>2. Queer characters who have explicit sex a tremendous lot, most of whom are …\u003c/p>\n\u003cp>3. Noxiously self-involved if not lightly repellent, yet who somehow manage to remain surrounded by a tight circle of mystifyingly supportive friends, all of whom talk in …\u003c/p>\n\u003cp>4. Breezy dialogue that tends to lapse into distinctly non-breezy self-righteous speechifying, and/or …\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>5. A fusillade of queer pop-culture references that serve as a series of dog-whistles to reassure queer audiences that they’re represented in the show’s writers room.\u003c/p>\n\u003cp>Which is to say, both the original U.K. and U.S. series were sexy, sometimes funny, sometimes moving, but deeply flawed projects. And while they are to be commended for storytelling that was always less concerned with chasing mainstream straight acceptance than the \u003cem>Will and Grace\u003c/em>-s of the world, both told their stories from a narrow and familiar point of view that centered the travails of the young, white, cis gay man with a gym membership.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PL-fFiKGTTY\u003c/p>\n\u003cp>The new \u003cem>Queer as Folk\u003c/em> has broadened the palette, which means it can tell stories and give voice to characters the old series never could or did. Even so, many of the old flaws persist: The characters are selfish and hopelessly enamored of themselves. Dialogue veers from an affronted lecture about intersectionality to a really solid joke about poppers.\u003c/p>\n\u003cp>[aside postid='arts_13904458']What’s new, besides the series’ matter-of-fact diversity, is how much the show’s creators have clearly thought about depicting its range of characters and situations, and giving them real reasons to meaningfully co-exist within the same social circle. The queer community’s tendency to build and police strict silos based on race, age, body type, gender, income and disability was not something the old homogenous \u003cem>Queer as Folk \u003c/em>series felt they needed to address, and largely didn’t.\u003c/p>\n\u003cp>But the new \u003cem>Queer as Folk\u003c/em> eagerly embraces the challenge of creating a diverse network of characters not merely for the sake of doing so, but as a means to let them meaningfully interact and delineate themselves, to variously clash and come together until they emerge as fuller, more rounded people in the eyes of the viewer.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kq2ShKuPD2o\u003c/p>\n\u003cp>Some relationships are simple enough to diagram. Brodie (Devin Way) is a young hot gay man who returns to New Orleans after dropping out of med school, to the dismay of his adoptive parents, played by Ed Begley Jr. and, because the universe is beneficent, Kim Cattrall. Brodie is best friends with Ruthie (Jesse James Keitel), a trans woman who’s married to Shar (CG), a non-binary person who’s pregnant with twins. In the pilot, Brodie selfishly urges Ruthie to join him for a night out, which she does, selfishly. (You perhaps begin to detect a theme, here.)\u003c/p>\n\u003cp>There’s also Noah (Johnny Sibily), Brodie’s ex, who’s hiding the fact that he’s been hooking up with Daddius (Chris Renfro) for reasons that soon become clear. There’s Mingus (Fin Argus), one of Ruthie’s high school students who’s taking their first steps into embracing drag. And there’s Julian (Ryan O’Connell), Brodie’s sardonically nerdy younger brother who was born with cerebral palsy.\u003c/p>\n\u003cp>Had the series contented itself with this clutch of characters, it could have churned through soapy plot turns—betrayals, breakups, revelations, etc.—in the desultory way the old \u003cem>QaFs\u003c/em> did.\u003c/p>\n\u003cp>[aside postid='arts_13904394']But creator Stephen Dunn introduces a controversial element in the pilot—a mass shooting in a gay club frequented by many of the above characters, not all of whom survive.\u003c/p>\n\u003cp>Were this event used simply to dramatize the threat faced by the queer community, it might come off as tasteless and a bit ham-fisted, maybe even exploitive. But the series quickly becomes about the reverberations of that traumatic event, and how it causes the various characters to spin out in a number of different ways.\u003c/p>\n\u003cp>And by involving the violation of a queer public space in the narrative, the series finds a way to neatly incorporate the viewpoints of characters outside of the already-established friend group—club patrons like the drag queen Bussey (Armand Fields) and Marvin (Eric Graise), a guarded, reflexively jaded young man who uses a wheelchair. Both characters play larger roles as the series goes on, much to the benefit of the show as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13914602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/nup_196715_00787r_custom-d6546e4c2265434920db531f4a9d8799fe85ce45-800x613.jpg\" alt=\"A young man with tousled hair stands boldly. He is wearing dark eye make-up, red lipstick and comedically large purple boxing gloves bound at the wrists with yellow chains.\" width=\"800\" height=\"613\">\u003cfigcaption class=\"wp-caption-text\">Fin Argus as Mingus. \u003ccite>(Alyssa Moran/Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>QaF\u003c/em> ’22 feels most new and intriguing whenever it devotes screentime to Graise and O’Connell’s characters, because it gives them room to emerge as people who are both living with disability \u003cem>and \u003c/em>horny as hell.\u003c/p>\n\u003cp>Something else starts happening a few episodes in, which didn’t happen a lot on the old series. Characters get called on their thoughtlessness. Grudges are held, resentments fester, and ultimately explode. The world around these characters starts to grow more complicated.\u003c/p>\n\u003cp>At Ruthie and Shar’s baby shower, Brodie makes a smug speech skewering his fellow attendees’ performative allyship, and Shar cuts him down. The series is saying here that two things can be simultaneously true: Brodie’s got a point … \u003cem>and \u003c/em>he’s a jerk.\u003c/p>\n\u003cp>[aside postid='arts_13907908']Mingus, traumatized by the club shooting, impulsively donates all of their drag. Later, when they see Bussey sporting some of it at a bar, they drunkenly demand it back, only to be rightly reprimanded for their preening sense of entitlement. Mingus is both going through something real … \u003cem>and \u003c/em>is a privileged, whiny punk.\u003c/p>\n\u003cp>At one point Ruthie gets a monologue about how the process of transitioning intersected, in complicated ways, with her feelings of sexual attractiveness, and it’s a quiet, truthful, revelatory moment that Keitel sells the hell out of. But she’s \u003cem>also \u003c/em>using the speech to avoid having to come to terms with the night of the shooting. One fact does not undercut the other; both resonate.\u003c/p>\n\u003cp>Similarly, the series is only too aware of how easily public tragedies can be mined for private gain. The series’ most stealthily hilarious performance is provided by Benito Skinner, whose social media influencer gloms onto the club shooting and becomes the self-appointed public face of the tragedy; his character’s the source of some of the series’ smartest, most ruthless comedy.\u003c/p>\n\u003cp>It does take all of these nuances, and others, some time to manifest, and along the way the series’ tone shifts wildly from scene to scene, sometimes even line to line. It’s messy. But ultimately the new \u003cem>Queer as Folk\u003c/em>, by telling a wider and more disparate set of stories, manages to produce a narrative that’s broader and deeper—and significantly queerer—than its predecessors.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Queer+As+Folk%27+gets+a+stiletto-heeled+reboot+that+takes+time+to+feel+comfortable&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been tasked with rebooting\u003cem> Queer as Folk \u003c/em>for the present day, and wish to stick to the general narrative parameters shared by both the original U.K. series and the U.S. series that followed (they ran on Channel 4 and Showtime, respectively, back at the turn of the century), here’s what you will need to bring to the table.\u003c/p>\n\u003cp>1. A blithe, defiantly melodramatic sensibility (\u003cem>QaF\u003c/em> is a soap, first, last and always) and a cast of …\u003c/p>\n\u003cp>2. Queer characters who have explicit sex a tremendous lot, most of whom are …\u003c/p>\n\u003cp>3. Noxiously self-involved if not lightly repellent, yet who somehow manage to remain surrounded by a tight circle of mystifyingly supportive friends, all of whom talk in …\u003c/p>\n\u003cp>4. Breezy dialogue that tends to lapse into distinctly non-breezy self-righteous speechifying, and/or …\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>5. A fusillade of queer pop-culture references that serve as a series of dog-whistles to reassure queer audiences that they’re represented in the show’s writers room.\u003c/p>\n\u003cp>Which is to say, both the original U.K. and U.S. series were sexy, sometimes funny, sometimes moving, but deeply flawed projects. And while they are to be commended for storytelling that was always less concerned with chasing mainstream straight acceptance than the \u003cem>Will and Grace\u003c/em>-s of the world, both told their stories from a narrow and familiar point of view that centered the travails of the young, white, cis gay man with a gym membership.\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/PL-fFiKGTTY'\n title='//www.youtube.com/embed/PL-fFiKGTTY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The new \u003cem>Queer as Folk\u003c/em> has broadened the palette, which means it can tell stories and give voice to characters the old series never could or did. Even so, many of the old flaws persist: The characters are selfish and hopelessly enamored of themselves. Dialogue veers from an affronted lecture about intersectionality to a really solid joke about poppers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What’s new, besides the series’ matter-of-fact diversity, is how much the show’s creators have clearly thought about depicting its range of characters and situations, and giving them real reasons to meaningfully co-exist within the same social circle. The queer community’s tendency to build and police strict silos based on race, age, body type, gender, income and disability was not something the old homogenous \u003cem>Queer as Folk \u003c/em>series felt they needed to address, and largely didn’t.\u003c/p>\n\u003cp>But the new \u003cem>Queer as Folk\u003c/em> eagerly embraces the challenge of creating a diverse network of characters not merely for the sake of doing so, but as a means to let them meaningfully interact and delineate themselves, to variously clash and come together until they emerge as fuller, more rounded people in the eyes of the viewer.\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/kq2ShKuPD2o'\n title='//www.youtube.com/embed/kq2ShKuPD2o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some relationships are simple enough to diagram. Brodie (Devin Way) is a young hot gay man who returns to New Orleans after dropping out of med school, to the dismay of his adoptive parents, played by Ed Begley Jr. and, because the universe is beneficent, Kim Cattrall. Brodie is best friends with Ruthie (Jesse James Keitel), a trans woman who’s married to Shar (CG), a non-binary person who’s pregnant with twins. In the pilot, Brodie selfishly urges Ruthie to join him for a night out, which she does, selfishly. (You perhaps begin to detect a theme, here.)\u003c/p>\n\u003cp>There’s also Noah (Johnny Sibily), Brodie’s ex, who’s hiding the fact that he’s been hooking up with Daddius (Chris Renfro) for reasons that soon become clear. There’s Mingus (Fin Argus), one of Ruthie’s high school students who’s taking their first steps into embracing drag. And there’s Julian (Ryan O’Connell), Brodie’s sardonically nerdy younger brother who was born with cerebral palsy.\u003c/p>\n\u003cp>Had the series contented itself with this clutch of characters, it could have churned through soapy plot turns—betrayals, breakups, revelations, etc.—in the desultory way the old \u003cem>QaFs\u003c/em> did.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But creator Stephen Dunn introduces a controversial element in the pilot—a mass shooting in a gay club frequented by many of the above characters, not all of whom survive.\u003c/p>\n\u003cp>Were this event used simply to dramatize the threat faced by the queer community, it might come off as tasteless and a bit ham-fisted, maybe even exploitive. But the series quickly becomes about the reverberations of that traumatic event, and how it causes the various characters to spin out in a number of different ways.\u003c/p>\n\u003cp>And by involving the violation of a queer public space in the narrative, the series finds a way to neatly incorporate the viewpoints of characters outside of the already-established friend group—club patrons like the drag queen Bussey (Armand Fields) and Marvin (Eric Graise), a guarded, reflexively jaded young man who uses a wheelchair. Both characters play larger roles as the series goes on, much to the benefit of the show as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13914602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/nup_196715_00787r_custom-d6546e4c2265434920db531f4a9d8799fe85ce45-800x613.jpg\" alt=\"A young man with tousled hair stands boldly. He is wearing dark eye make-up, red lipstick and comedically large purple boxing gloves bound at the wrists with yellow chains.\" width=\"800\" height=\"613\">\u003cfigcaption class=\"wp-caption-text\">Fin Argus as Mingus. \u003ccite>(Alyssa Moran/Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>QaF\u003c/em> ’22 feels most new and intriguing whenever it devotes screentime to Graise and O’Connell’s characters, because it gives them room to emerge as people who are both living with disability \u003cem>and \u003c/em>horny as hell.\u003c/p>\n\u003cp>Something else starts happening a few episodes in, which didn’t happen a lot on the old series. Characters get called on their thoughtlessness. Grudges are held, resentments fester, and ultimately explode. The world around these characters starts to grow more complicated.\u003c/p>\n\u003cp>At Ruthie and Shar’s baby shower, Brodie makes a smug speech skewering his fellow attendees’ performative allyship, and Shar cuts him down. The series is saying here that two things can be simultaneously true: Brodie’s got a point … \u003cem>and \u003c/em>he’s a jerk.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mingus, traumatized by the club shooting, impulsively donates all of their drag. Later, when they see Bussey sporting some of it at a bar, they drunkenly demand it back, only to be rightly reprimanded for their preening sense of entitlement. Mingus is both going through something real … \u003cem>and \u003c/em>is a privileged, whiny punk.\u003c/p>\n\u003cp>At one point Ruthie gets a monologue about how the process of transitioning intersected, in complicated ways, with her feelings of sexual attractiveness, and it’s a quiet, truthful, revelatory moment that Keitel sells the hell out of. But she’s \u003cem>also \u003c/em>using the speech to avoid having to come to terms with the night of the shooting. One fact does not undercut the other; both resonate.\u003c/p>\n\u003cp>Similarly, the series is only too aware of how easily public tragedies can be mined for private gain. The series’ most stealthily hilarious performance is provided by Benito Skinner, whose social media influencer gloms onto the club shooting and becomes the self-appointed public face of the tragedy; his character’s the source of some of the series’ smartest, most ruthless comedy.\u003c/p>\n\u003cp>It does take all of these nuances, and others, some time to manifest, and along the way the series’ tone shifts wildly from scene to scene, sometimes even line to line. It’s messy. But ultimately the new \u003cem>Queer as Folk\u003c/em>, by telling a wider and more disparate set of stories, manages to produce a narrative that’s broader and deeper—and significantly queerer—than its predecessors.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Queer+As+Folk%27+gets+a+stiletto-heeled+reboot+that+takes+time+to+feel+comfortable&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "oakland-to-all-ballroom-vogue-lgbtq-mental-health",
"title": "Beyond Ballroom, ‘Oakland to All’ Uplifts LGBTQ+ Health",
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"headTitle": "Beyond Ballroom, ‘Oakland to All’ Uplifts LGBTQ+ Health | KQED",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> Two years into the pandemic, artists are charting new paths forward. Across the Bay Area, they’re advocating for better pay, sharing resources and looking out for their communities’ wellbeing. Welcome to \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem>, a KQED Arts & Culture series that takes stock of the arts in this unpredictable climate. \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">Share your story here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In 2017, Alora Lemalu and two friends packed their clothes in a car and left their hometown in Missouri for the Bay Area.\u003c/p>\n\u003cp>Back home, Lemalu and her friends felt alone, without any spaces where they could safely connect with other queer people of color. “The decision to come out here was because of the lack of community that any of us had in Missouri,” says the 27-year-old Oakland resident.\u003c/p>\n\u003cp>Tumblr and other social media platforms gave Lemalu a window into what queer spaces were like in the rest of the country. By watching \u003ca href=\"https://www.youtube.com/watch?v=9SqvD1-0odY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Paris is Burning\u003c/em>\u003c/a> and competitions on YouTube as a teen, she learned more about voguing and ballroom scenes in places like New York and the Bay Area.\u003c/p>\n\u003cp>“Seeing these women, specifically Black trans women, perform was amazing,” she says. “It was so graceful and so beautiful. But it was also so empowering. In vogue and ballroom you have to have nerve and a certain amount of self-belief and attitude that carries you.”\u003c/p>\n\u003cp>She also learned that vogue was a lot more than just a dance style. Voguing is deeply rooted in the Black ballroom scene of 1970s and 1980s New York City, where queer and trans people of color formed houses—chosen families that provide their members with protection, offer emotional and material support and celebrate each other’s growth as dancers, musicians and artists.\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Alora Lemalu\"]‘In vogue and ballroom you have to have nerve and a certain amount of self-belief and attitude that carries you.’[/pullquote]Houses face off in ballroom competitions that include multiple categories and cash prizes. Categories can change from ball to ball, but typical ones include runway, where contestants pull up with ornate outfits they create themselves; selling face, where the emphasis is on the make-up and attitude; and of course, vogue performance.\u003c/p>\n\u003cp>Vogue performance is the opportunity for dancers to come in and give it their all, each with their own style, using their own original techniques and those crafted and refined by previous generations. Hand performances come together with spins, duck walks and drops as the commentator injects energy into the crowd and hypes up each performer.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fw5jn1xrfnY\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfweekly.com/music/gay-and-transgender-divas-battle-for-stardom-in-bay-areas-ballroom-scene/\">ballroom scene grew across the West Coast in the ’90s\u003c/a>, and that legacy lured Lemalu to the Bay—along with the promise of being able to live safely as a queer person of color. Once she and her friends made it to California in 2017, they began taking classes and going to functions. Eventually, Lemalu was adopted into a house and expanded her chosen family.\u003c/p>\n\u003cp>It was through attending small events that she met Ashlee Banks, Shireen Rahimi and Guerrilla Davis. The three artists are close friends who’ve been part of the scene for years. Banks, a.k.a. Ashlee Basquiat, is a dancer and currently the lead youth wellness coordinator at the \u003ca href=\"https://www.oaklandlgbtqcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland LGBTQ Community Center\u003c/a>; Rahimi, a.k.a. Hype Kitty, is a choreographer, dancer and event producer; and Davis, a.k.a. Guerrilla Pump, is a photographer, DJ and organizer with \u003ca href=\"https://www.instagram.com/wearetheoneswevebeenwaitingfor/\" target=\"_blank\" rel=\"noopener noreferrer\">We Are the Ones We’ve Been Waiting For\u003c/a>, a mutual aid collective that provides \u003ca href=\"https://www.mic.com/life/arm-the-girls-is-empowering-bipoc-queer-trans-femmes-to-fight-back-81225542\" target=\"_blank\" rel=\"noopener noreferrer\">self-defense gear\u003c/a> and other forms of assistance to trans femmes.\u003c/p>\n\u003cfigure id=\"attachment_13913695\" class=\"wp-caption aligncenter\" style=\"max-width: 1360px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/OTA_Lake_Merritt_1.png\" alt=\"Three people stand in front of Lake Merritt in Oakland and pose while looking at the camera.\" width=\"1360\" height=\"898\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_1.png 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_1-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_1-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_1-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_1-768x507.png 768w\" sizes=\"(max-width: 1360px) 100vw, 1360px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Shireen Rahimi Ashlee Banks and Guerrilla Davis. The three have become close friends after meeting through the Bay Area ballroom scene. They now work together to create balls that tackle issues that are disproportionately affecting Black and brown queer people. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since 2020, the three have worked to transform the voguing scene in the Bay Area—organizing balls, renegade parties and teaching dance sessions promoted by Oakland to All, a platform the group created back in 2017. Each of these events is produced with intention, centering issues like mental health, substance abuse and efforts to resist police brutality. By doing so, Oakland to All is building on the legacy of balls from the 1980s and 1990s that connected voguers to HIV/AIDS testing and treatment at a time when queer Black and Latinx communities had limited access to these resources.\u003c/p>\n\u003cp>“Our prerogative has always been to provide a safe space for people to just exist,” says Davis. “For trans femme people who exist in the world and get stares and catcalled, balls are one of the few spaces that you can exist without all the bullshit.”\u003c/p>\n\u003cfigure id=\"attachment_13902890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902890\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4052.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4052.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4052-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4052-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Set it off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>Bringing Together a New Generation\u003c/strong>\u003c/h2>\n\u003cp>Over the years, Banks, Rahimi and Davis have supported Lemalu and other young members of the scene by organizing mutual aid funds for emergencies, helping to find housing and connecting them to mental health resources. 2020 was an especially rough year as pandemic health restrictions severely limited balls and other in-person events at a time when Lemalu and her friends felt the world was falling apart.\u003c/p>\n\u003cp>Lemalu wasn’t the only one feeling this way. Banks, Rahimi and Davis heard from young people all over the Bay Area who said they needed some sort of space to come together, see each other, dance and hype each other up. “The kids were asking for balls. The kids are asking for sessions,” Banks says. “We wanted to give them that, but we also wanted to make sure everyone was safe.”\u003c/p>\n\u003cp>The trio had to make sure any event they organized was outdoors to protect against COVID-19. Securing an all-ages space was crucial because ballroom is an important outlet for many queer and trans young people under the age of 21.\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Guerrilla Davis, co-founder of Oakland to All\"]‘For trans femme people who exist in the world and get stares and catcalled, balls are one of the few spaces that you can exist without all the bullshit.’[/pullquote]On Aug. 30, 2020, the trio, along with other community groups, threw the \u003ca href=\"https://www.facebook.com/events/lake-merritt-amphitheater/amerikkka-is-burning-ball-830-oaklandca/981801608930387/\" target=\"_blank\" rel=\"noopener noreferrer\">Amerikkka is Burning Ball\u003c/a> at the Lake Merritt Amphitheater. The categories were designed to address the racial reckoning following the murder of George Floyd by a Minneapolis police officer. One category asked voguers to honor victims of police brutality such as Breonna Taylor and Eric Garner, as well as slain trans women such as \u003ca href=\"https://www.advocate.com/crime/2020/3/24/trans-businesswoman-shot-death-while-being-treated-ambulance\" target=\"_blank\" rel=\"noopener noreferrer\">Monika Diamond\u003c/a>. Another \u003ca href=\"https://www.facebook.com/events/lake-merritt-amphitheater/amerikkka-is-burning-ball-830-oaklandca/981801608930387/\">asked participants to create a bizarre look\u003c/a> that showed their “resourcefulness, ingenuity, and creativity focused on protection and survival from the rona or police brutality.”\u003c/p>\n\u003cp>The turnout and energy that pulled through exceeded what any of the organizers ever expected. Although there were plenty of balls in the Bay Area before Amerikkka is Burning, few had sought to engage the younger generations that came of age during the pandemic and weren’t around to experience what the scene was like in the ’90s and early 2000s.\u003c/p>\n\u003cp>Rahimi remembers meeting young people from all over the region, from places like San Jose, Antioch and Palo Alto—something she had rarely seen before. “2020, we connected and changed the motherfucking game, for lack of a better word,” Rahimi says. “That’s when a whole new generation birthed.”\u003c/p>\n\u003cfigure id=\"attachment_13902900\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4265.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4265.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4265-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4265-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaiah Wilder competes in the “Set it off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>Community Care Through Mutual Aid\u003c/strong>\u003c/h2>\n\u003cp>After Amerikkka is Burning and other events at Lake Merritt, Oakland to All was getting requests for more balls. The community support was there, but now the question was where to throw the events, Davis says. While Lake Merritt provided an option that was both outdoors and open to all ages, the group was concerned about safety around the lake following a series of shootings in the area in 2021.\u003c/p>\n\u003cp>[aside postID=\"arts_13913116\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/continental-club-2-1020x574.jpg\"]Last April, the group threw a \u003ca href=\"https://www.instagram.com/p/Cbf9XodvELr/\">Battle of the Bay Ball\u003c/a> at the Continental Club, a historic venue in West Oakland that hosted many notable Black blues and R&B artists for decades and reopened at the start of 2022. Plans to have a second ball at the Continental in May were scrapped after the nonprofit Hip-Hop for Change and other event organizers in Oakland \u003ca href=\"https://www.kqed.org/arts/13913116/hip-hop-for-change-boycotts-continental-club-over-alleged-discrimination\">accused the club’s new owner of racism, homophobia and sexism\u003c/a>.\u003c/p>\n\u003cp>The next Oakland to All ball—The Kunty Mental Ball—will take place on Thursday, May 26, at \u003ca href=\"https://omnicommons.org/\">Omni Commons\u003c/a>, a community center in Oakland’s Temescal neighborhood and a hub for mutual aid collectives like \u003ca href=\"https://www.instagram.com/northoakland_mutualaid/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">North Oakland Mutual Aid\u003c/a> and \u003ca href=\"https://eastbayfoodnotbombs.org/\">Food Not Bombs\u003c/a>.\u003c/p>\n\u003cp>https://www.instagram.com/p/Cdow0IwJ3Wo/\u003c/p>\n\u003cp>Each ball is made possible thanks to a support network that Banks, Rahimi and Davis have built across the Bay Area since before COVID-19. Friends volunteer to run the sound system and bring chairs; audience members’ donations go to the cash prizes for performers.\u003c/p>\n\u003cp>“The idea of mutual aid is more than just raising money,” adds Davis. “It means what resources do we have and how can we share [them] together so that we are all empowered together so we can all survive.”\u003c/p>\n\u003cp>Oakland to All has also partnered up with public health nonprofits, such as \u003ca href=\"https://www.calpep.org/\">CAL-PEP\u003c/a>, which offers health services for sex workers. Agencies like \u003ca href=\"https://www.acbhcs.org/\">Alameda County Behavioral Health Care Services \u003c/a>connect ball-goers with HIV/AIDS testing, mental health services and substance abuse treatment during the event. These organizations are invited to table at the balls so they can answer questions and educate attendees about resources like the HIV-prevention drugs \u003ca href=\"https://www.cdc.gov/hiv/clinicians/prevention/prep-and-pep.html\" target=\"_blank\" rel=\"noopener noreferrer\">PrEP and PEP\u003c/a>.\u003c/p>\n\u003cp>[aside postID=\"arts_13905452\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/aliceLaureldancing.jpg\"]“Vogue is not a dance class. It’s not just here for entertainment,” says Rahimi, adding that vogue and ballroom culture has been highly commercialized in the past few years by those not from the scene. Vogue at its core, she explains, has always been a radical space for queer people of color to protect, celebrate and care for one another.\u003c/p>\n\u003cp>When Oakland to All links their community with health resources, that’s part of a greater history of the ballroom scene. Balls across the country have prioritized HIV/AIDS education and healthcare access since the 1980s.\u003c/p>\n\u003cp>“HIV/AIDS has affected this community the most,” Rahimi says. “Coming into the conversation is mental health.” A 2022 survey from The Trevor Project, a nationwide group that focuses on suicide prevention for LGBTQ+ youth, \u003ca href=\"https://www.pbs.org/newshour/show/political-targeting-the-pandemic-exacerbate-mental-health-struggles-of-lgbtq-youth\">found the pandemic has exacerbated mental health issues for queer and trans people of color\u003c/a>. Greater isolation played a part, and so did homophobic and transphobic attacks and a rise in \u003ca href=\"https://www.aclu.org/legislation-affecting-lgbtq-rights-across-country\" target=\"_blank\" rel=\"noopener noreferrer\">anti-LGBTQ+ legislation\u003c/a>.\u003c/p>\n\u003cp>From their daily conversations with young people in the scene, Banks, Rahimi and Davis have noticed a similar pattern locally during the past two years. They’ve also noticed more folks dealing with substance abuse. They say the stigma and lack of information about available resources have made it difficult for people to get help.\u003c/p>\n\u003cp>[aside postID=\"news_11908813\" hero=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/022222-COVID-Kids-Mental-Health-AJ-CM-12-1020x680.jpg\"]“Substance abuse and mental health go hand in hand,” Rahimi says. Crystal meth has really taken a toll on the scene, she adds. “We’ve lost people that are legends and icons, and those that are up-and-coming.”\u003c/p>\n\u003cp>That’s why the group is putting mental health front and center in the Kunty Mental Ball. The name itself is a reminder that caring for one’s mental health is an indispensable part of self-empowerment. All the categories will be related one way or another to mental health. Several are asking participants to involve green (representing the green ribbon, symbol of mental health awareness).\u003c/p>\n\u003cp>For the face category, voguers will have to “meet [their] reflection in the mirror and send [themselves] loving and self-affirming affirmations.” The tag team performance category invites dancers to show how they are physically, mentally and emotionally present for a loved one.\u003c/p>\n\u003cp>The group hopes that what happens on the runway will impact life outside of it. “We can still have fun and teach other. Care for each other,” Banks says. “You’re around people that are telling you it’s OK. That are telling you, ‘I’ll go with you. If you need me to hold your hand, I’ll hold your hand.’”\u003c/p>\n\u003cfigure id=\"attachment_13913693\" class=\"wp-caption aligncenter\" style=\"max-width: 1364px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913693\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/OTA_Lake_Merritt_3.png\" alt=\"Three people stand in front of Lake Merritt in Oakland and pose while looking away from the camera, to their right.\" width=\"1364\" height=\"902\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_3.png 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_3-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_3-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_3-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_3-768x508.png 768w\" sizes=\"(max-width: 1364px) 100vw, 1364px\">\u003cfigcaption class=\"wp-caption-text\">Rahimi, Banks and Davis all found their chosen family through the ballroom scene and it was this network of support and care that got them through some of their toughest moments. Their hope is that Oakland to All help younger generations of queer people of color find the resources they need to care for each other. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alora, who came to California to seek refuge in the Bay Area’s ballroom scene, has now found an additional layer of comfort in the balls organized by Oakland to All. She doesn’t just talk to Banks, Rahimi and Davis, she also receives their care and love—and the love of so many others. Both her talent and mental health are valued and looked after.\u003c/p>\n\u003cp>“I’m in a place where life is kind of overwhelming, but I’m finding so much groundedness in ballroom,” she says. “There’s just so much collective trauma both in this country and in the air. All of us are going through it. But the one thing that literally keeps us going is meeting every week and just voguing down.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Read more stories from \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem> here. Have something to share? Tell us about how \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">the pandemic has impacted your art practice or community\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> Two years into the pandemic, artists are charting new paths forward. Across the Bay Area, they’re advocating for better pay, sharing resources and looking out for their communities’ wellbeing. Welcome to \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem>, a KQED Arts & Culture series that takes stock of the arts in this unpredictable climate. \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">Share your story here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In 2017, Alora Lemalu and two friends packed their clothes in a car and left their hometown in Missouri for the Bay Area.\u003c/p>\n\u003cp>Back home, Lemalu and her friends felt alone, without any spaces where they could safely connect with other queer people of color. “The decision to come out here was because of the lack of community that any of us had in Missouri,” says the 27-year-old Oakland resident.\u003c/p>\n\u003cp>Tumblr and other social media platforms gave Lemalu a window into what queer spaces were like in the rest of the country. By watching \u003ca href=\"https://www.youtube.com/watch?v=9SqvD1-0odY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Paris is Burning\u003c/em>\u003c/a> and competitions on YouTube as a teen, she learned more about voguing and ballroom scenes in places like New York and the Bay Area.\u003c/p>\n\u003cp>“Seeing these women, specifically Black trans women, perform was amazing,” she says. “It was so graceful and so beautiful. But it was also so empowering. In vogue and ballroom you have to have nerve and a certain amount of self-belief and attitude that carries you.”\u003c/p>\n\u003cp>She also learned that vogue was a lot more than just a dance style. Voguing is deeply rooted in the Black ballroom scene of 1970s and 1980s New York City, where queer and trans people of color formed houses—chosen families that provide their members with protection, offer emotional and material support and celebrate each other’s growth as dancers, musicians and artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘In vogue and ballroom you have to have nerve and a certain amount of self-belief and attitude that carries you.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Houses face off in ballroom competitions that include multiple categories and cash prizes. Categories can change from ball to ball, but typical ones include runway, where contestants pull up with ornate outfits they create themselves; selling face, where the emphasis is on the make-up and attitude; and of course, vogue performance.\u003c/p>\n\u003cp>Vogue performance is the opportunity for dancers to come in and give it their all, each with their own style, using their own original techniques and those crafted and refined by previous generations. Hand performances come together with spins, duck walks and drops as the commentator injects energy into the crowd and hypes up each performer.\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/Fw5jn1xrfnY'\n title='//www.youtube.com/embed/Fw5jn1xrfnY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003ca href=\"https://www.sfweekly.com/music/gay-and-transgender-divas-battle-for-stardom-in-bay-areas-ballroom-scene/\">ballroom scene grew across the West Coast in the ’90s\u003c/a>, and that legacy lured Lemalu to the Bay—along with the promise of being able to live safely as a queer person of color. Once she and her friends made it to California in 2017, they began taking classes and going to functions. Eventually, Lemalu was adopted into a house and expanded her chosen family.\u003c/p>\n\u003cp>It was through attending small events that she met Ashlee Banks, Shireen Rahimi and Guerrilla Davis. The three artists are close friends who’ve been part of the scene for years. Banks, a.k.a. Ashlee Basquiat, is a dancer and currently the lead youth wellness coordinator at the \u003ca href=\"https://www.oaklandlgbtqcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland LGBTQ Community Center\u003c/a>; Rahimi, a.k.a. Hype Kitty, is a choreographer, dancer and event producer; and Davis, a.k.a. Guerrilla Pump, is a photographer, DJ and organizer with \u003ca href=\"https://www.instagram.com/wearetheoneswevebeenwaitingfor/\" target=\"_blank\" rel=\"noopener noreferrer\">We Are the Ones We’ve Been Waiting For\u003c/a>, a mutual aid collective that provides \u003ca href=\"https://www.mic.com/life/arm-the-girls-is-empowering-bipoc-queer-trans-femmes-to-fight-back-81225542\" target=\"_blank\" rel=\"noopener noreferrer\">self-defense gear\u003c/a> and other forms of assistance to trans femmes.\u003c/p>\n\u003cfigure id=\"attachment_13913695\" class=\"wp-caption aligncenter\" style=\"max-width: 1360px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/OTA_Lake_Merritt_1.png\" alt=\"Three people stand in front of Lake Merritt in Oakland and pose while looking at the camera.\" width=\"1360\" height=\"898\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_1.png 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_1-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_1-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_1-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_1-768x507.png 768w\" sizes=\"(max-width: 1360px) 100vw, 1360px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Shireen Rahimi Ashlee Banks and Guerrilla Davis. The three have become close friends after meeting through the Bay Area ballroom scene. They now work together to create balls that tackle issues that are disproportionately affecting Black and brown queer people. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since 2020, the three have worked to transform the voguing scene in the Bay Area—organizing balls, renegade parties and teaching dance sessions promoted by Oakland to All, a platform the group created back in 2017. Each of these events is produced with intention, centering issues like mental health, substance abuse and efforts to resist police brutality. By doing so, Oakland to All is building on the legacy of balls from the 1980s and 1990s that connected voguers to HIV/AIDS testing and treatment at a time when queer Black and Latinx communities had limited access to these resources.\u003c/p>\n\u003cp>“Our prerogative has always been to provide a safe space for people to just exist,” says Davis. “For trans femme people who exist in the world and get stares and catcalled, balls are one of the few spaces that you can exist without all the bullshit.”\u003c/p>\n\u003cfigure id=\"attachment_13902890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902890\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4052.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4052.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4052-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4052-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Set it off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>Bringing Together a New Generation\u003c/strong>\u003c/h2>\n\u003cp>Over the years, Banks, Rahimi and Davis have supported Lemalu and other young members of the scene by organizing mutual aid funds for emergencies, helping to find housing and connecting them to mental health resources. 2020 was an especially rough year as pandemic health restrictions severely limited balls and other in-person events at a time when Lemalu and her friends felt the world was falling apart.\u003c/p>\n\u003cp>Lemalu wasn’t the only one feeling this way. Banks, Rahimi and Davis heard from young people all over the Bay Area who said they needed some sort of space to come together, see each other, dance and hype each other up. “The kids were asking for balls. The kids are asking for sessions,” Banks says. “We wanted to give them that, but we also wanted to make sure everyone was safe.”\u003c/p>\n\u003cp>The trio had to make sure any event they organized was outdoors to protect against COVID-19. Securing an all-ages space was crucial because ballroom is an important outlet for many queer and trans young people under the age of 21.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On Aug. 30, 2020, the trio, along with other community groups, threw the \u003ca href=\"https://www.facebook.com/events/lake-merritt-amphitheater/amerikkka-is-burning-ball-830-oaklandca/981801608930387/\" target=\"_blank\" rel=\"noopener noreferrer\">Amerikkka is Burning Ball\u003c/a> at the Lake Merritt Amphitheater. The categories were designed to address the racial reckoning following the murder of George Floyd by a Minneapolis police officer. One category asked voguers to honor victims of police brutality such as Breonna Taylor and Eric Garner, as well as slain trans women such as \u003ca href=\"https://www.advocate.com/crime/2020/3/24/trans-businesswoman-shot-death-while-being-treated-ambulance\" target=\"_blank\" rel=\"noopener noreferrer\">Monika Diamond\u003c/a>. Another \u003ca href=\"https://www.facebook.com/events/lake-merritt-amphitheater/amerikkka-is-burning-ball-830-oaklandca/981801608930387/\">asked participants to create a bizarre look\u003c/a> that showed their “resourcefulness, ingenuity, and creativity focused on protection and survival from the rona or police brutality.”\u003c/p>\n\u003cp>The turnout and energy that pulled through exceeded what any of the organizers ever expected. Although there were plenty of balls in the Bay Area before Amerikkka is Burning, few had sought to engage the younger generations that came of age during the pandemic and weren’t around to experience what the scene was like in the ’90s and early 2000s.\u003c/p>\n\u003cp>Rahimi remembers meeting young people from all over the region, from places like San Jose, Antioch and Palo Alto—something she had rarely seen before. “2020, we connected and changed the motherfucking game, for lack of a better word,” Rahimi says. “That’s when a whole new generation birthed.”\u003c/p>\n\u003cfigure id=\"attachment_13902900\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4265.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4265.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4265-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4265-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaiah Wilder competes in the “Set it off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>Community Care Through Mutual Aid\u003c/strong>\u003c/h2>\n\u003cp>After Amerikkka is Burning and other events at Lake Merritt, Oakland to All was getting requests for more balls. The community support was there, but now the question was where to throw the events, Davis says. While Lake Merritt provided an option that was both outdoors and open to all ages, the group was concerned about safety around the lake following a series of shootings in the area in 2021.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Last April, the group threw a \u003ca href=\"https://www.instagram.com/p/Cbf9XodvELr/\">Battle of the Bay Ball\u003c/a> at the Continental Club, a historic venue in West Oakland that hosted many notable Black blues and R&B artists for decades and reopened at the start of 2022. Plans to have a second ball at the Continental in May were scrapped after the nonprofit Hip-Hop for Change and other event organizers in Oakland \u003ca href=\"https://www.kqed.org/arts/13913116/hip-hop-for-change-boycotts-continental-club-over-alleged-discrimination\">accused the club’s new owner of racism, homophobia and sexism\u003c/a>.\u003c/p>\n\u003cp>The next Oakland to All ball—The Kunty Mental Ball—will take place on Thursday, May 26, at \u003ca href=\"https://omnicommons.org/\">Omni Commons\u003c/a>, a community center in Oakland’s Temescal neighborhood and a hub for mutual aid collectives like \u003ca href=\"https://www.instagram.com/northoakland_mutualaid/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">North Oakland Mutual Aid\u003c/a> and \u003ca href=\"https://eastbayfoodnotbombs.org/\">Food Not Bombs\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Each ball is made possible thanks to a support network that Banks, Rahimi and Davis have built across the Bay Area since before COVID-19. Friends volunteer to run the sound system and bring chairs; audience members’ donations go to the cash prizes for performers.\u003c/p>\n\u003cp>“The idea of mutual aid is more than just raising money,” adds Davis. “It means what resources do we have and how can we share [them] together so that we are all empowered together so we can all survive.”\u003c/p>\n\u003cp>Oakland to All has also partnered up with public health nonprofits, such as \u003ca href=\"https://www.calpep.org/\">CAL-PEP\u003c/a>, which offers health services for sex workers. Agencies like \u003ca href=\"https://www.acbhcs.org/\">Alameda County Behavioral Health Care Services \u003c/a>connect ball-goers with HIV/AIDS testing, mental health services and substance abuse treatment during the event. These organizations are invited to table at the balls so they can answer questions and educate attendees about resources like the HIV-prevention drugs \u003ca href=\"https://www.cdc.gov/hiv/clinicians/prevention/prep-and-pep.html\" target=\"_blank\" rel=\"noopener noreferrer\">PrEP and PEP\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Vogue is not a dance class. It’s not just here for entertainment,” says Rahimi, adding that vogue and ballroom culture has been highly commercialized in the past few years by those not from the scene. Vogue at its core, she explains, has always been a radical space for queer people of color to protect, celebrate and care for one another.\u003c/p>\n\u003cp>When Oakland to All links their community with health resources, that’s part of a greater history of the ballroom scene. Balls across the country have prioritized HIV/AIDS education and healthcare access since the 1980s.\u003c/p>\n\u003cp>“HIV/AIDS has affected this community the most,” Rahimi says. “Coming into the conversation is mental health.” A 2022 survey from The Trevor Project, a nationwide group that focuses on suicide prevention for LGBTQ+ youth, \u003ca href=\"https://www.pbs.org/newshour/show/political-targeting-the-pandemic-exacerbate-mental-health-struggles-of-lgbtq-youth\">found the pandemic has exacerbated mental health issues for queer and trans people of color\u003c/a>. Greater isolation played a part, and so did homophobic and transphobic attacks and a rise in \u003ca href=\"https://www.aclu.org/legislation-affecting-lgbtq-rights-across-country\" target=\"_blank\" rel=\"noopener noreferrer\">anti-LGBTQ+ legislation\u003c/a>.\u003c/p>\n\u003cp>From their daily conversations with young people in the scene, Banks, Rahimi and Davis have noticed a similar pattern locally during the past two years. They’ve also noticed more folks dealing with substance abuse. They say the stigma and lack of information about available resources have made it difficult for people to get help.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Substance abuse and mental health go hand in hand,” Rahimi says. Crystal meth has really taken a toll on the scene, she adds. “We’ve lost people that are legends and icons, and those that are up-and-coming.”\u003c/p>\n\u003cp>That’s why the group is putting mental health front and center in the Kunty Mental Ball. The name itself is a reminder that caring for one’s mental health is an indispensable part of self-empowerment. All the categories will be related one way or another to mental health. Several are asking participants to involve green (representing the green ribbon, symbol of mental health awareness).\u003c/p>\n\u003cp>For the face category, voguers will have to “meet [their] reflection in the mirror and send [themselves] loving and self-affirming affirmations.” The tag team performance category invites dancers to show how they are physically, mentally and emotionally present for a loved one.\u003c/p>\n\u003cp>The group hopes that what happens on the runway will impact life outside of it. “We can still have fun and teach other. Care for each other,” Banks says. “You’re around people that are telling you it’s OK. That are telling you, ‘I’ll go with you. If you need me to hold your hand, I’ll hold your hand.’”\u003c/p>\n\u003cfigure id=\"attachment_13913693\" class=\"wp-caption aligncenter\" style=\"max-width: 1364px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913693\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/OTA_Lake_Merritt_3.png\" alt=\"Three people stand in front of Lake Merritt in Oakland and pose while looking away from the camera, to their right.\" width=\"1364\" height=\"902\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_3.png 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_3-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_3-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_3-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_3-768x508.png 768w\" sizes=\"(max-width: 1364px) 100vw, 1364px\">\u003cfigcaption class=\"wp-caption-text\">Rahimi, Banks and Davis all found their chosen family through the ballroom scene and it was this network of support and care that got them through some of their toughest moments. Their hope is that Oakland to All help younger generations of queer people of color find the resources they need to care for each other. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alora, who came to California to seek refuge in the Bay Area’s ballroom scene, has now found an additional layer of comfort in the balls organized by Oakland to All. She doesn’t just talk to Banks, Rahimi and Davis, she also receives their care and love—and the love of so many others. Both her talent and mental health are valued and looked after.\u003c/p>\n\u003cp>“I’m in a place where life is kind of overwhelming, but I’m finding so much groundedness in ballroom,” she says. “There’s just so much collective trauma both in this country and in the air. All of us are going through it. But the one thing that literally keeps us going is meeting every week and just voguing down.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Read more stories from \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem> here. Have something to share? Tell us about how \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">the pandemic has impacted your art practice or community\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Hip-Hop for Change Boycotts Continental Club Over Alleged Discrimination",
"headTitle": "Hip-Hop for Change Boycotts Continental Club Over Alleged Discrimination | KQED",
"content": "\u003cp>Speaking out against racism isn’t controversial in Oakland, a city known nationwide for its activism. At least that’s what Eric Sasz of Hip-Hop For Change assumed when his nonprofit rented the \u003ca href=\"https://www.continentalcluboakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Continental Club\u003c/a> for its free, all ages Women’s Empowerment Summit on March 12.\u003c/p>\n\u003cp>Originally opened in 1961, the Continental Club hosted blues and R&B artists for decades as part of West Oakland’s once-thriving circuit of Black nightclubs. The club reopened in its current form in January, and features a Black Panther Party-themed mural on its rooftop in homage to its history. That’s why Sasz was taken aback when Ron Frydberg, the owner of the venue, asked him to take down T-shirts with the slogan “End White Supremacy” from his merch table, Sasz said.\u003c/p>\n\u003cp>“I was like, ‘There’s no way.’ I think this is our best-selling T-shirt,” recalled Sasz, who serves as Hip-Hop for Change’s event director. “This is what we do as an organization: fight racism and do social justice work.”\u003c/p>\n\u003cp>After Sasz pushed back, he said, Frydberg backed down. But the T-shirt incident was the first in a series of discriminatory behaviors Sasz said he and his staff witnessed during the Hip-Hop for Change event.\u003c/p>\n\u003cp>Now, Hip-Hop For Change and other event organizers in Oakland are accusing Frydberg of racism, homophobia and sexism, and calling for a boycott of the Continental Club.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He’s contributing to the problem in Oakland right now, which is coming into historically Black places and colonizing them,” Sasz said.\u003c/p>\n\u003cp>Meanwhile, Frydberg denied several of the allegations. “It’s unfortunate that they had such a negative feeling towards us after doing everything we were supposed to do to host their event,” he said.\u003c/p>\n\u003cp>https://www.instagram.com/p/CdMO5VePp_q/\u003c/p>\n\u003ch2>Accusations Over the ‘F’-Word\u003c/h2>\n\u003cp>Another Hip-Hop for Change staffer, who spoke to KQED under the condition of anonymity out of fear of retaliation, was working the Women’s Empowerment Summit when a colleague came to her in tears after a conversation with Frydberg.\u003c/p>\n\u003cp>“She just came up to me and she’s like, ‘He just called me the ‘f’-word,’” said the Hip-Hop for Change staffer, referring to the homophobic slur. “And she is a transgender Black woman. And I was like, ‘Wait, what? Like, he did what?’ And [Ron] was very defensive about it.”\u003c/p>\n\u003cp>As the Hip-Hop for Change staffer put it, after being called the slur, the transgender woman became increasingly upset, had too much to drink and had to go home in an Uber. “When we were leaving, Ron’s security team kept calling her ‘him’ and kept saying, ‘Oh, the gay boy over there’ and stuff like that,’” the staffer said.\u003c/p>\n\u003cp>Sasz discussed the situation with his staff, including the person who was allegedly called the slur. Afterwards, Sasz confronted Frydberg, who denied using that language.\u003c/p>\n\u003cp>[pullquote size='large' citation='Eric Sasz, Hip-Hop for Change']‘We’re just trying to educate our community so folks don’t have the same experience we had.’[/pullquote]\u003c/p>\n\u003cp>When reached by KQED, Frydberg denied ever using the slur, and accused Sasz of changing his story. “What he told me is that he heard that somebody in my staff said that, not me specifically,” he said. “In fact, what had happened was I was coming to talk to him about a situation about his staff being drunk and belligerent, and harassing my security guards. … He couldn’t tell me who it was [that used the slur]. I talked to all of my staff. It became a big issue that night.”\u003c/p>\n\u003cp>“We go above and beyond to make sure that everybody is well respected while they’re at the club,” Frydberg added.\u003c/p>\n\u003cp>Sasz denies that he changed his story.\u003c/p>\n\u003ch2>‘Guilty of Being White’\u003c/h2>\n\u003cp>Tensions escalated as the Women’s Empowerment Summit continued. According to Sasz and several other witnesses, Frydberg and his security repeatedly asked one of Hip-Hop for Change’s artists, a new mother with two infants, to move from a booth Frydberg wanted to reserve for bottle service. The table hadn’t been sold, and neither had several others in the section that afternoon. (The artist, Gina Madrid, said she sat at the booth to move her babies away from the club’s speakers.) Sasz also said that at the end of the event, Frydberg raised his voice and threatened to throw Hip-Hop for Change’s chairs into the street if they didn’t get them out that night.\u003c/p>\n\u003cp>“He’s seeing the demographic of the crowd, I think, that we’re bringing in,” recalled Sasz, noting that most attendees of the Hip-Hop for Change event were Black and brown, while Frydberg is white. “And I think that’s where we started to feel racist behavior.”\u003c/p>\n\u003cp>Speaking to KQED, Frydberg denied asking Madrid to move, but also asserted his right to maintain a service offered at his club. He denied getting aggressive about the chairs, and said that he asked politely for Hip-Hop for Change to remove them.\u003c/p>\n\u003cp>At first, Frydberg declined to answer questions about the “End White Supremacy” T-shirts. Shortly after Hip-Hop for Change posted their call for a boycott of Continental Club on Instagram on May 5, the club’s account commented that Hip-Hop for Change is now “bashing us because they didn’t like someone who’s only guilty of being white.”\u003c/p>\n\u003cfigure id=\"attachment_13913121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913121\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/MHP_6724-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A speaker panel at Hip-Hop for Change’s Women’s Empowerment Summit at Continental Club on March 12, 2022. \u003ccite>(Jane Vick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in a follow-up conversation, Frydberg’s tone changed from defensive to apologetic, and he clarified that he agrees with the “End White Supremacy” message. He only wanted the T-shirts taken down from the raised display, he said, out of fear of making the club a target for angry white supremacists. (Sasz said he understood Frydberg to be asking him to not sell the T-shirt at all.)\u003c/p>\n\u003cp>“I can understand how it might have been misconstrued as supporting white supremacy, but like, I’m Jewish,” Frydberg said, adding, “I clearly understand that I made the wrong decision. And it was hurtful in the moment, but it was not in any way with any intention to not support the cause.”\u003c/p>\n\u003cp>He described Hip-Hop for Change’s boycott on Instagram as “a piling-on campaign of white supremacy and racism, when that’s not the truth.”\u003c/p>\n\u003cp>[pullquote size='large' citation='Ron Frydberg, Continental Club']‘I clearly understand that I made the wrong decision. And it was hurtful in the moment, but it was not in any way with any intention to not support [Hip-Hop for Change’s] cause.’[/pullquote]\u003c/p>\n\u003ch2>The Former Bar Manager Speaks Out\u003c/h2>\n\u003cp>Dennise Acio, the former Continental Club bar manager, said Hip-Hop for Change’s Women’s Empowerment Summit wasn’t the first time people felt unsafe or uncomfortable at the venue because of Frydberg.\u003c/p>\n\u003cp>According to Acio, Frydberg regularly made sexualized comments about female staff members. “He has said many times that he wants to hire bartenders that are sexy, and [he would] point certain people out. ‘Oh, like her,’” Acio said. “I had this one guy I hired. He’s great, he’s dependable. He’s always there and doing a good job. And yet [Ron] even pointed him out like, ‘Not like him.’”\u003c/p>\n\u003cp>When asked whether he had ever made comments sexualizing employees, Frydberg changed the subject and said Acio was the one who was in charge of hiring. (Acio said all hiring decisions had to go through Frydberg.) Frydberg said that his staff represents the community, and includes many queer women of color. “We’re committed to having a diverse staff that represents our community in all shapes and forms and sizes, and so on and so forth,” he said.\u003c/p>\n\u003cp>He was “using us as a face,” Acio said. “But really what he represented wasn’t the community at all.”\u003c/p>\n\u003cfigure id=\"attachment_13913122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913122\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/continental-club-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of the Continental Club. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘These are Dog-Whistle Words’\u003c/h2>\n\u003cp>In January, Acio pitched Frydberg on the Continental Club hosting The Sweet Spot, a new party she’d created in collaboration with her partner, DJ and promoter Lady Ryan. Lady Ryan said that Frydberg’s former booking manager, Mark Sandstorm, relayed a flat-rate offer of $400, which she considered insultingly low. (“I’ve never seen a situation where a venue offers a promoter $400 to bring in their entire community,” Lady Ryan said, noting that the Continental Club is in a residential area without much foot traffic.)\u003c/p>\n\u003cp>After negotiations, the two agreed that Lady Ryan and Acio would keep the door proceeds, and the venue would keep bar sales. The first Sweet Spot party on March 6 was a success. Despite the tensions with Frydberg, Acio and Lady Ryan decided to throw another one on April 3.\u003c/p>\n\u003cp>After the second party ended, one of the bartenders poured the staff a round of after-shift drinks, a common practice in the bar industry. In a follow-up conversation, Frydberg told Acio that the drinks constituted stealing, and demanded she pay him back. Frydberg said he had a strict rule against shift drinks; Acio and Sandstorm, the former booking manager, said there was no clear, consistent policy at the time. “He picked and chose what it was,” Acio said.\u003c/p>\n\u003cp>“He was making comments like, for our community to claim that they’re so woke and … that they support one another, ‘And here you guys are stealing from me,’” Acio said. “I’m like, ‘We weren’t stealing from you.’ We worked our asses off and we had a couple of drinks after work.”\u003c/p>\n\u003cp>“Using the word ‘thieves,’ using the word ‘woke.’ You know, these are kind of like dog-whistle words,” Lady Ryan said.\u003c/p>\n\u003cp>“To my understanding, the staff—Dennise included, Lady Ryan—decided to throw themselves a party after the event,” Frydberg said. “I felt very disrespected as, you know, as a business, that the bar manager is allowing people to effectively steal from the company,” he added.\u003c/p>\n\u003cp>Acio said there was no afterparty: the staff was still closing the club down and counting tips when the shots were poured.\u003c/p>\n\u003cp>“I reprimanded her, and that’s when the attacks started happening with Dennise and Lady Ryan,” said Frydberg, referring to Acio and Lady Ryan’s Instagram story posts detailing their complaints about the club.\u003c/p>\n\u003cfigure id=\"attachment_13913123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913123\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/1Y3A0026-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Sweet Spot party at Continental Club on April 3. \u003ccite>(Courtesy of The Sweet Spot and Stephen Flynn Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘That’s Our Labor’\u003c/h2>\n\u003cp>Acio and Frydberg’s working relationship deteriorated, and she quit at the end of April. But even afterward, the Continental Club’s Instagram posted photos from The Sweet Spot to advertise their rooftop bar. “That’s our vibe, that’s our energy, that’s our labor that we put into that. And they’re capitalizing off of it,” Ryan said.\u003c/p>\n\u003cp>After KQED interviewed Sasz and Frydberg about the allegations last week, Sasz got a call from DJ Sam Mack, the grandson of Curtis Christy, who co-founded the original Continental Club—first as a restaurant in 1947 and then as an expanded nightclub in 1961. Sasz said that Mack told him he’d “see [him] in the streets” if he continued to speak out about the Continental Club, which Sasz took as a threat. Sasz showed KQED screenshots of text messages from Mack telling him to “shut the fuck up about white supremacy.”\u003c/p>\n\u003cp>Reached by KQED, Mack denied saying he would “see [Sasz] in the streets,” and insisted he had called to invite Sasz to a restorative justice circle to resolve the conflict. “If he took that as violence, then that’s [on] him,” said Mack.\u003c/p>\n\u003cp>https://www.instagram.com/p/CdZLOdYLy8d/\u003c/p>\n\u003cp>Sasz said that despite the perceived threat, Hip-Hop for Change is proceeding with the boycott. “Really we’re just trying to educate our community so folks don’t have the same experience we had,” he said, characterizing the night as “probably the worst venue experience I’ve ever had.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Frydberg, meanwhile, said he wants to make amends and is open to meeting with Hip-Hop for Change on their terms. On May 10, he posted an apology on Instagram. “I understand that they’re hurt. And however we can rectify this, we are willing to make any commitment,” said Frydberg. “Like, if they want me to take a diversity training, I’m happy to do that. I mean, there’s nothing I won’t do to rectify this.”\u003c/p>\n\n",
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"excerpt": "Several event organizers allege racism, sexism and homophobia. Owner Ron Frydberg denies claims of bigotry.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Speaking out against racism isn’t controversial in Oakland, a city known nationwide for its activism. At least that’s what Eric Sasz of Hip-Hop For Change assumed when his nonprofit rented the \u003ca href=\"https://www.continentalcluboakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Continental Club\u003c/a> for its free, all ages Women’s Empowerment Summit on March 12.\u003c/p>\n\u003cp>Originally opened in 1961, the Continental Club hosted blues and R&B artists for decades as part of West Oakland’s once-thriving circuit of Black nightclubs. The club reopened in its current form in January, and features a Black Panther Party-themed mural on its rooftop in homage to its history. That’s why Sasz was taken aback when Ron Frydberg, the owner of the venue, asked him to take down T-shirts with the slogan “End White Supremacy” from his merch table, Sasz said.\u003c/p>\n\u003cp>“I was like, ‘There’s no way.’ I think this is our best-selling T-shirt,” recalled Sasz, who serves as Hip-Hop for Change’s event director. “This is what we do as an organization: fight racism and do social justice work.”\u003c/p>\n\u003cp>After Sasz pushed back, he said, Frydberg backed down. But the T-shirt incident was the first in a series of discriminatory behaviors Sasz said he and his staff witnessed during the Hip-Hop for Change event.\u003c/p>\n\u003cp>Now, Hip-Hop For Change and other event organizers in Oakland are accusing Frydberg of racism, homophobia and sexism, and calling for a boycott of the Continental Club.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He’s contributing to the problem in Oakland right now, which is coming into historically Black places and colonizing them,” Sasz said.\u003c/p>\n\u003cp>Meanwhile, Frydberg denied several of the allegations. “It’s unfortunate that they had such a negative feeling towards us after doing everything we were supposed to do to host their event,” he said.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch2>Accusations Over the ‘F’-Word\u003c/h2>\n\u003cp>Another Hip-Hop for Change staffer, who spoke to KQED under the condition of anonymity out of fear of retaliation, was working the Women’s Empowerment Summit when a colleague came to her in tears after a conversation with Frydberg.\u003c/p>\n\u003cp>“She just came up to me and she’s like, ‘He just called me the ‘f’-word,’” said the Hip-Hop for Change staffer, referring to the homophobic slur. “And she is a transgender Black woman. And I was like, ‘Wait, what? Like, he did what?’ And [Ron] was very defensive about it.”\u003c/p>\n\u003cp>As the Hip-Hop for Change staffer put it, after being called the slur, the transgender woman became increasingly upset, had too much to drink and had to go home in an Uber. “When we were leaving, Ron’s security team kept calling her ‘him’ and kept saying, ‘Oh, the gay boy over there’ and stuff like that,’” the staffer said.\u003c/p>\n\u003cp>Sasz discussed the situation with his staff, including the person who was allegedly called the slur. Afterwards, Sasz confronted Frydberg, who denied using that language.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When reached by KQED, Frydberg denied ever using the slur, and accused Sasz of changing his story. “What he told me is that he heard that somebody in my staff said that, not me specifically,” he said. “In fact, what had happened was I was coming to talk to him about a situation about his staff being drunk and belligerent, and harassing my security guards. … He couldn’t tell me who it was [that used the slur]. I talked to all of my staff. It became a big issue that night.”\u003c/p>\n\u003cp>“We go above and beyond to make sure that everybody is well respected while they’re at the club,” Frydberg added.\u003c/p>\n\u003cp>Sasz denies that he changed his story.\u003c/p>\n\u003ch2>‘Guilty of Being White’\u003c/h2>\n\u003cp>Tensions escalated as the Women’s Empowerment Summit continued. According to Sasz and several other witnesses, Frydberg and his security repeatedly asked one of Hip-Hop for Change’s artists, a new mother with two infants, to move from a booth Frydberg wanted to reserve for bottle service. The table hadn’t been sold, and neither had several others in the section that afternoon. (The artist, Gina Madrid, said she sat at the booth to move her babies away from the club’s speakers.) Sasz also said that at the end of the event, Frydberg raised his voice and threatened to throw Hip-Hop for Change’s chairs into the street if they didn’t get them out that night.\u003c/p>\n\u003cp>“He’s seeing the demographic of the crowd, I think, that we’re bringing in,” recalled Sasz, noting that most attendees of the Hip-Hop for Change event were Black and brown, while Frydberg is white. “And I think that’s where we started to feel racist behavior.”\u003c/p>\n\u003cp>Speaking to KQED, Frydberg denied asking Madrid to move, but also asserted his right to maintain a service offered at his club. He denied getting aggressive about the chairs, and said that he asked politely for Hip-Hop for Change to remove them.\u003c/p>\n\u003cp>At first, Frydberg declined to answer questions about the “End White Supremacy” T-shirts. Shortly after Hip-Hop for Change posted their call for a boycott of Continental Club on Instagram on May 5, the club’s account commented that Hip-Hop for Change is now “bashing us because they didn’t like someone who’s only guilty of being white.”\u003c/p>\n\u003cfigure id=\"attachment_13913121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913121\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/MHP_6724-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A speaker panel at Hip-Hop for Change’s Women’s Empowerment Summit at Continental Club on March 12, 2022. \u003ccite>(Jane Vick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in a follow-up conversation, Frydberg’s tone changed from defensive to apologetic, and he clarified that he agrees with the “End White Supremacy” message. He only wanted the T-shirts taken down from the raised display, he said, out of fear of making the club a target for angry white supremacists. (Sasz said he understood Frydberg to be asking him to not sell the T-shirt at all.)\u003c/p>\n\u003cp>“I can understand how it might have been misconstrued as supporting white supremacy, but like, I’m Jewish,” Frydberg said, adding, “I clearly understand that I made the wrong decision. And it was hurtful in the moment, but it was not in any way with any intention to not support the cause.”\u003c/p>\n\u003cp>He described Hip-Hop for Change’s boycott on Instagram as “a piling-on campaign of white supremacy and racism, when that’s not the truth.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>The Former Bar Manager Speaks Out\u003c/h2>\n\u003cp>Dennise Acio, the former Continental Club bar manager, said Hip-Hop for Change’s Women’s Empowerment Summit wasn’t the first time people felt unsafe or uncomfortable at the venue because of Frydberg.\u003c/p>\n\u003cp>According to Acio, Frydberg regularly made sexualized comments about female staff members. “He has said many times that he wants to hire bartenders that are sexy, and [he would] point certain people out. ‘Oh, like her,’” Acio said. “I had this one guy I hired. He’s great, he’s dependable. He’s always there and doing a good job. And yet [Ron] even pointed him out like, ‘Not like him.’”\u003c/p>\n\u003cp>When asked whether he had ever made comments sexualizing employees, Frydberg changed the subject and said Acio was the one who was in charge of hiring. (Acio said all hiring decisions had to go through Frydberg.) Frydberg said that his staff represents the community, and includes many queer women of color. “We’re committed to having a diverse staff that represents our community in all shapes and forms and sizes, and so on and so forth,” he said.\u003c/p>\n\u003cp>He was “using us as a face,” Acio said. “But really what he represented wasn’t the community at all.”\u003c/p>\n\u003cfigure id=\"attachment_13913122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913122\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/continental-club-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of the Continental Club. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘These are Dog-Whistle Words’\u003c/h2>\n\u003cp>In January, Acio pitched Frydberg on the Continental Club hosting The Sweet Spot, a new party she’d created in collaboration with her partner, DJ and promoter Lady Ryan. Lady Ryan said that Frydberg’s former booking manager, Mark Sandstorm, relayed a flat-rate offer of $400, which she considered insultingly low. (“I’ve never seen a situation where a venue offers a promoter $400 to bring in their entire community,” Lady Ryan said, noting that the Continental Club is in a residential area without much foot traffic.)\u003c/p>\n\u003cp>After negotiations, the two agreed that Lady Ryan and Acio would keep the door proceeds, and the venue would keep bar sales. The first Sweet Spot party on March 6 was a success. Despite the tensions with Frydberg, Acio and Lady Ryan decided to throw another one on April 3.\u003c/p>\n\u003cp>After the second party ended, one of the bartenders poured the staff a round of after-shift drinks, a common practice in the bar industry. In a follow-up conversation, Frydberg told Acio that the drinks constituted stealing, and demanded she pay him back. Frydberg said he had a strict rule against shift drinks; Acio and Sandstorm, the former booking manager, said there was no clear, consistent policy at the time. “He picked and chose what it was,” Acio said.\u003c/p>\n\u003cp>“He was making comments like, for our community to claim that they’re so woke and … that they support one another, ‘And here you guys are stealing from me,’” Acio said. “I’m like, ‘We weren’t stealing from you.’ We worked our asses off and we had a couple of drinks after work.”\u003c/p>\n\u003cp>“Using the word ‘thieves,’ using the word ‘woke.’ You know, these are kind of like dog-whistle words,” Lady Ryan said.\u003c/p>\n\u003cp>“To my understanding, the staff—Dennise included, Lady Ryan—decided to throw themselves a party after the event,” Frydberg said. “I felt very disrespected as, you know, as a business, that the bar manager is allowing people to effectively steal from the company,” he added.\u003c/p>\n\u003cp>Acio said there was no afterparty: the staff was still closing the club down and counting tips when the shots were poured.\u003c/p>\n\u003cp>“I reprimanded her, and that’s when the attacks started happening with Dennise and Lady Ryan,” said Frydberg, referring to Acio and Lady Ryan’s Instagram story posts detailing their complaints about the club.\u003c/p>\n\u003cfigure id=\"attachment_13913123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913123\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/1Y3A0026-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Sweet Spot party at Continental Club on April 3. \u003ccite>(Courtesy of The Sweet Spot and Stephen Flynn Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘That’s Our Labor’\u003c/h2>\n\u003cp>Acio and Frydberg’s working relationship deteriorated, and she quit at the end of April. But even afterward, the Continental Club’s Instagram posted photos from The Sweet Spot to advertise their rooftop bar. “That’s our vibe, that’s our energy, that’s our labor that we put into that. And they’re capitalizing off of it,” Ryan said.\u003c/p>\n\u003cp>After KQED interviewed Sasz and Frydberg about the allegations last week, Sasz got a call from DJ Sam Mack, the grandson of Curtis Christy, who co-founded the original Continental Club—first as a restaurant in 1947 and then as an expanded nightclub in 1961. Sasz said that Mack told him he’d “see [him] in the streets” if he continued to speak out about the Continental Club, which Sasz took as a threat. Sasz showed KQED screenshots of text messages from Mack telling him to “shut the fuck up about white supremacy.”\u003c/p>\n\u003cp>Reached by KQED, Mack denied saying he would “see [Sasz] in the streets,” and insisted he had called to invite Sasz to a restorative justice circle to resolve the conflict. “If he took that as violence, then that’s [on] him,” said Mack.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sasz said that despite the perceived threat, Hip-Hop for Change is proceeding with the boycott. “Really we’re just trying to educate our community so folks don’t have the same experience we had,” he said, characterizing the night as “probably the worst venue experience I’ve ever had.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Frydberg, meanwhile, said he wants to make amends and is open to meeting with Hip-Hop for Change on their terms. On May 10, he posted an apology on Instagram. “I understand that they’re hurt. And however we can rectify this, we are willing to make any commitment,” said Frydberg. “Like, if they want me to take a diversity training, I’m happy to do that. I mean, there’s nothing I won’t do to rectify this.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Book Bans Won't Stop These Authors From Telling the Stories of Trans Youth",
"headTitle": "Book Bans Won’t Stop These Authors From Telling the Stories of Trans Youth | KQED",
"content": "\u003cfigure id=\"attachment_13911378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-800x275.jpg\" alt=\"Three colorful children's book covers depict bodies of different sizes, colors and genders.\" width=\"800\" height=\"275\" class=\"size-medium wp-image-13911378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-800x275.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-1020x351.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-160x55.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-768x264.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-1536x528.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Bodies are Cool’ by Tyler Feder, ‘Téo’s Tutu’ by Maryann Jacob Macias, and ‘My Rainbow’ by Trinity Neal and DeShanna Neal. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was just two weeks ago that DeShanna Neal found out that \u003cem>My Rainbow,\u003c/em> a book she wrote with their daughter Trinity and published in 2020, was being targeted for a ban.\u003c/p>\n\u003cp>The book tells the story of designing and creating the perfect rainbow wig for a young Trinity, who transitioned when she was 4. It was \u003ca href=\"https://www.npr.org/2021/10/28/1050013664/texas-lawmaker-matt-krause-launches-inquiry-into-850-books\">one of 850 books \u003c/a>that Texas lawmaker Matt Krause targeted in October 2021 — unbeknownst to Neal until recently.\u003c/p>\n\u003cp>Bans on books about race and LGBTQ+ identities are common. Last year, stories about Black American history and diversity were among the most banned or protested books in schools and libraries, according to the \u003ca href=\"https://www.ala.org/advocacy/bbooks/frequentlychallengedbooks/top10\">American Library Association\u003c/a>. And in 2020, \u003ca href=\"https://www.hrc.org/press-releases/human-rights-campaign-foundation-releases-list-of-lgbtq-affirming-books-in-the-wake-of-discriminatory-book-bans-across-the-country\">eight of the 10\u003c/a> most challenged books covered the LGBTQ+ community.\u003c/p>\n\u003cp>As Republican lawmakers continue to push forward with efforts to curb the rights of queer and trans youth \u003ca href=\"https://www.npr.org/2022/03/30/1089462508/teachers-fear-the-chilling-effect-of-floridas-so-called-dont-say-gay-law\">and limit discussion in schools\u003c/a>, authors who’ve written about gender expansive and trans identities say that type of storytelling is crucial.\u003c/p>\n\u003cp>Books about trans identities need space in the classroom, said Cheryl Greene, the Welcoming Schools Director for the Human Rights Campaign.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Trans and nonbinary kids and LGBTQ+ families exist,” she said. “And you know, not talking about them doesn’t make them go away. It just sends the message that they’re not accepted.”\u003c/p>\n\u003cp>Teachers and educators are tasked with ensuring that all families and students are valued and feel like they belong, Greene said. That’s something that books can do, she added.\u003c/p>\n\u003ch2>A rainbow wig for Trinity\u003c/h2>\n\u003cp>DeShanna Neal remembers staying up late into the night making a wig for a young Trinity. Trinity’s brother helped picked out the colors, but it was up to Neal — who had never before made a wig — to put it all together.\u003c/p>\n\u003cp>Neal tells NPR that Trinity felt her gender expression wasn’t valid because her hair was too short. But Trinity, who is autistic, hated the feeling of hair on the back of her neck. Neal also didn’t want to give Trinity straight hair because she is Black, they added.\u003c/p>\n\u003cp>“It was like, ‘How do I make these all come together?’ ” Neal remembers asking. “Because every part of her, every intersection of her — and I teach all my kids this — every part of us is why we are a masterpiece.”\u003c/p>\n\u003cfigure id=\"attachment_13911381\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/myrainbow-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911381\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/myrainbow-1.jpg\" alt=\"A yellow children's book showing an African-American woman wearing a rainbow flower crown.\" width=\"450\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/myrainbow-1.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/myrainbow-1-160x160.jpg 160w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘My Rainbow’ by Trinity Neal and DeShanna Neal. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neal says she still has the picture of a young Trinity, who is now 18, smiling and putting on the wig for the first time. Many remembered Trinity as “the girl with the rainbow hair,” Neal said.\u003c/p>\n\u003cp>But the young author doesn’t let the attention get to her head, Neal said of her daughter. When the activist duo is tagged in something, Trinity is excited, but then she goes back to playing Roblox, Neal said.\u003c/p>\n\u003cp>Meanwhile, Trinity’s younger sister, Hyperion, has shared the book with her classmates.\u003c/p>\n\u003cp>“Nothing’s cooler than saying, ‘Yeah, my big sister is an author,’ ” Neal said of Hyperion. ” ‘Don’t mind me, my big sister met Obama.’ ”\u003c/p>\n\u003ch2>Young characters that reflect humanity\u003c/h2>\n\u003cp>When Ellie was growing up, their mom, Vanessa Ford, recalls a lack of books that captured her own child’s experience. Many of the book characters didn’t look like Ellie, Ford said.\u003c/p>\n\u003cp>For Ellie,\u003cem> I am Jazz\u003c/em> by Jazz Jennings was a formative work. The story follows the author’s own experience as a trans child.\u003c/p>\n\u003cp>“But as Ellie mentioned, ‘Jazz was not brown like me,’ ” Ford told NPR.\u003c/p>\n\u003cp>Ford and her husband set out to find books that represented Ellie, who is biracial. When the duo started writing \u003cem>Calvin \u003c/em>in 2018, which follows a young trans boy’s coming out story, Ford said they couldn’t find any books with transgender characters of color.\u003c/p>\n\u003cp>But over the years, the selection has expanded with the addition of books like \u003cem>My Rainbow\u003c/em> and Kyle Lukoff’s \u003cem>When Aidan Became A Brother.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13911382\" class=\"wp-caption aligncenter\" style=\"max-width: 384px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/calvin_custom-802a07a1aa43e7f9b6c931ebc7cc51da360b72db-s1600-c85.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911382\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/calvin_custom-802a07a1aa43e7f9b6c931ebc7cc51da360b72db-s1600-c85.jpg\" alt=\"A lavender children's book showing a young African American boy's face\" width=\"384\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/calvin_custom-802a07a1aa43e7f9b6c931ebc7cc51da360b72db-s1600-c85.jpg 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/calvin_custom-802a07a1aa43e7f9b6c931ebc7cc51da360b72db-s1600-c85-160x188.jpg 160w\" sizes=\"(max-width: 384px) 100vw, 384px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Calvin’ by JR and Vanessa Ford. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Calvin, \u003c/em>the Fords tell the story of a young trans boy, loosely based on the experiences of their own child, Ellie. In the book, Calvin tells his parents that he is a boy “in his heart, in his brain,” Ford says.\u003c/p>\n\u003cp>“We love you if you are a girl, boy, neither, or both,” Calvin’s dad says. “We love you whoever you are.”\u003c/p>\n\u003cp>After coming out, Calvin is met with nothing but support and acceptance. His friend calls him by his name, and in one scene, his grandparents give him a haircut. Nobody bullies Calvin and no one questions his identity, Ford says.\u003c/p>\n\u003cp>“It sends a message that trans kids can thrive and be happy and wonderful in their environments when those around them support and affirm who they are,” Ford told NPR.\u003c/p>\n\u003cp>Including\u003cem> Calvin\u003c/em> in classrooms was important for Ford, who was a teacher in D.C. public schools for 15 years. She said they’ve done virtual school and library visits all over the country, from Oregon to Pennsylvania to Texas.\u003c/p>\n\u003cp>“We want this being utilized in classrooms as a mirror to kids who need to see themselves, and a window for other kids who need to understand what it means to be gender diverse or transgender,” Ford said.\u003c/p>\n\u003ch2>A story about ‘unconditional love’\u003c/h2>\n\u003cp>Growing up, Maryann Jacob Macias loved ballet. But she didn’t like the itchy, polyester outfit that came with it. She was much more partial to the T-shirt and leggings, which was known as the boys’ costume.\u003c/p>\n\u003cp>A young Jacob Macias later dropped ballet altogether, because she felt she couldn’t do it in a way that was “comfortable for me,” she told NPR. But in her book, \u003cem>Téo’s Tutu\u003c/em>, she tells a story where a young Téo thrives in his tutu. It’s a story about “unconditional love,” she added.\u003c/p>\n\u003cfigure id=\"attachment_13911383\" class=\"wp-caption aligncenter\" style=\"max-width: 406px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/teos-tutu_custom-65c32be9d0d2500828b2bad6f5f2f7c0cdf13d35-s1600-c85.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911383\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/teos-tutu_custom-65c32be9d0d2500828b2bad6f5f2f7c0cdf13d35-s1600-c85.jpg\" alt=\"A colorful children's book cover shows a young child with an Afro dancing in a tutu\" width=\"406\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/teos-tutu_custom-65c32be9d0d2500828b2bad6f5f2f7c0cdf13d35-s1600-c85.jpg 406w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/teos-tutu_custom-65c32be9d0d2500828b2bad6f5f2f7c0cdf13d35-s1600-c85-160x177.jpg 160w\" sizes=\"(max-width: 406px) 100vw, 406px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Téo’s Tutu’ by Maryann Jacob Macias. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the book, she introduces Téo who is growing up in an Indian and Colombian family, mirroring her own family. Téo loves dancing at home with his family, whether Cumbia or Bhangra, she said. And naturally, Téo is very excited for his first ballet class.\u003c/p>\n\u003cp>“When it comes time to decide which outfit to wear in the recital, whether it’s the sparkly tutu or the shimmering silver pants and T-shirt,” Jacob Macias said, “he wonders if the audience will love him back.”\u003c/p>\n\u003cp>Téo’s story tells readers that “you’re magnificent and you deserve to show up as your best self,” Jacob Macias said.\u003c/p>\n\u003cp>It also might help some readers feel seen. Jacob Macias recalls reading books when she was younger where she couldn’t see herself.\u003c/p>\n\u003cp>“I remember not having books where I felt represented as a little brown girl,” Jacob Macias told NPR. “It was always my dream to write those books and I feel very fortunate that I’m able to do that now.”\u003c/p>\n\u003ch2>Queer and trans communities are not monolithic\u003c/h2>\n\u003cp>In less than two weeks, Kyle Lukoff’s latest book \u003cem>Different Kinds of Fruit\u003c/em> is set for release. The book tells the story of Annabelle, who is just starting sixth grade. Annabelle, who’s realizing that she might not like boys the way some other girls do, befriends Bailey, the new kid.\u003c/p>\n\u003cp>Annabelle thinks they’re pretty cool, and she is drawn to their smile. She later learns that her father and Bailey might have something in common.\u003c/p>\n\u003cp>Annabelle’s father later reveals to her that he is trans, and he had given birth to her. But his local trans community wasn’t supportive of his choice, Lukoff told NPR.\u003c/p>\n\u003cp>The novel follows Annabelle’s emotional journey as she learns more about her parents and her own identity.\u003c/p>\n\u003cp>Lukoff hopes the novel shows that queer and trans communities are diverse. Queer and trans people don’t always agree with each other, whether on politics or in the ways folks talk about their identities, he said.\u003c/p>\n\u003cp>“I would love for people to come away from this book and realize that there’s no one correct way to interact with trans people because we often have different needs and experiences,” he said. “And also, that that’s okay.”\u003c/p>\n\u003ch2>A conversation starter for the youngest readers\u003c/h2>\n\u003cp>Behind Tyler Feder’s \u003cem>Bodies are Cool \u003c/em>was an immense spreadsheet. It was filled with all of the qualities of bodies that she wanted to document in the colorful book. The book, she says, carries a bit of a “Where’s Waldo” energy.\u003c/p>\n\u003cfigure id=\"attachment_13911384\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911384\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-800x800.jpg\" alt=\"A children's book with a pink background shows bodies of different shapes, sizes and colors\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85.jpg 1600w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Bodies are Cool’ by Tyler Feder. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Bodies are Cool\u003c/em>, tons of people — maybe more than 100, Feder says — are shown with different gender presentations, hair types, skin colors, body sizes and shapes, she told NPR.\u003c/p>\n\u003cp>Even those who can’t read yet can engage with the book just by looking at the pages, and asking their parents questions if they have any.\u003c/p>\n\u003cp>The book includes folks with top-surgery scars in different stages of healing. Feder hopes the book shows that “it’s normal to be trans or visibly queer or very fat or with a really noticeable disability.”\u003c/p>\n\u003cp>Across all of the pages, joy is universal. Feder depicts colorful crowds of people who love each other, are friendly and are just having fun, she tells NPR.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“If [kids] just start out thinking that everyone’s fine how they are, they’ll grow up and not want to discriminate,” she said.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+kids%27+authors+are+telling+the+stories+of+trans+youth.+Book+bans+won%27t+stop+them&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "As lawmakers push forward to curb queer and trans youth rights, children's authors who've written about gender-expansive and trans identities say storytelling is crucial.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13911378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-800x275.jpg\" alt=\"Three colorful children's book covers depict bodies of different sizes, colors and genders.\" width=\"800\" height=\"275\" class=\"size-medium wp-image-13911378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-800x275.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-1020x351.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-160x55.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-768x264.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-1536x528.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Bodies are Cool’ by Tyler Feder, ‘Téo’s Tutu’ by Maryann Jacob Macias, and ‘My Rainbow’ by Trinity Neal and DeShanna Neal. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was just two weeks ago that DeShanna Neal found out that \u003cem>My Rainbow,\u003c/em> a book she wrote with their daughter Trinity and published in 2020, was being targeted for a ban.\u003c/p>\n\u003cp>The book tells the story of designing and creating the perfect rainbow wig for a young Trinity, who transitioned when she was 4. It was \u003ca href=\"https://www.npr.org/2021/10/28/1050013664/texas-lawmaker-matt-krause-launches-inquiry-into-850-books\">one of 850 books \u003c/a>that Texas lawmaker Matt Krause targeted in October 2021 — unbeknownst to Neal until recently.\u003c/p>\n\u003cp>Bans on books about race and LGBTQ+ identities are common. Last year, stories about Black American history and diversity were among the most banned or protested books in schools and libraries, according to the \u003ca href=\"https://www.ala.org/advocacy/bbooks/frequentlychallengedbooks/top10\">American Library Association\u003c/a>. And in 2020, \u003ca href=\"https://www.hrc.org/press-releases/human-rights-campaign-foundation-releases-list-of-lgbtq-affirming-books-in-the-wake-of-discriminatory-book-bans-across-the-country\">eight of the 10\u003c/a> most challenged books covered the LGBTQ+ community.\u003c/p>\n\u003cp>As Republican lawmakers continue to push forward with efforts to curb the rights of queer and trans youth \u003ca href=\"https://www.npr.org/2022/03/30/1089462508/teachers-fear-the-chilling-effect-of-floridas-so-called-dont-say-gay-law\">and limit discussion in schools\u003c/a>, authors who’ve written about gender expansive and trans identities say that type of storytelling is crucial.\u003c/p>\n\u003cp>Books about trans identities need space in the classroom, said Cheryl Greene, the Welcoming Schools Director for the Human Rights Campaign.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Trans and nonbinary kids and LGBTQ+ families exist,” she said. “And you know, not talking about them doesn’t make them go away. It just sends the message that they’re not accepted.”\u003c/p>\n\u003cp>Teachers and educators are tasked with ensuring that all families and students are valued and feel like they belong, Greene said. That’s something that books can do, she added.\u003c/p>\n\u003ch2>A rainbow wig for Trinity\u003c/h2>\n\u003cp>DeShanna Neal remembers staying up late into the night making a wig for a young Trinity. Trinity’s brother helped picked out the colors, but it was up to Neal — who had never before made a wig — to put it all together.\u003c/p>\n\u003cp>Neal tells NPR that Trinity felt her gender expression wasn’t valid because her hair was too short. But Trinity, who is autistic, hated the feeling of hair on the back of her neck. Neal also didn’t want to give Trinity straight hair because she is Black, they added.\u003c/p>\n\u003cp>“It was like, ‘How do I make these all come together?’ ” Neal remembers asking. “Because every part of her, every intersection of her — and I teach all my kids this — every part of us is why we are a masterpiece.”\u003c/p>\n\u003cfigure id=\"attachment_13911381\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/myrainbow-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911381\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/myrainbow-1.jpg\" alt=\"A yellow children's book showing an African-American woman wearing a rainbow flower crown.\" width=\"450\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/myrainbow-1.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/myrainbow-1-160x160.jpg 160w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘My Rainbow’ by Trinity Neal and DeShanna Neal. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neal says she still has the picture of a young Trinity, who is now 18, smiling and putting on the wig for the first time. Many remembered Trinity as “the girl with the rainbow hair,” Neal said.\u003c/p>\n\u003cp>But the young author doesn’t let the attention get to her head, Neal said of her daughter. When the activist duo is tagged in something, Trinity is excited, but then she goes back to playing Roblox, Neal said.\u003c/p>\n\u003cp>Meanwhile, Trinity’s younger sister, Hyperion, has shared the book with her classmates.\u003c/p>\n\u003cp>“Nothing’s cooler than saying, ‘Yeah, my big sister is an author,’ ” Neal said of Hyperion. ” ‘Don’t mind me, my big sister met Obama.’ ”\u003c/p>\n\u003ch2>Young characters that reflect humanity\u003c/h2>\n\u003cp>When Ellie was growing up, their mom, Vanessa Ford, recalls a lack of books that captured her own child’s experience. Many of the book characters didn’t look like Ellie, Ford said.\u003c/p>\n\u003cp>For Ellie,\u003cem> I am Jazz\u003c/em> by Jazz Jennings was a formative work. The story follows the author’s own experience as a trans child.\u003c/p>\n\u003cp>“But as Ellie mentioned, ‘Jazz was not brown like me,’ ” Ford told NPR.\u003c/p>\n\u003cp>Ford and her husband set out to find books that represented Ellie, who is biracial. When the duo started writing \u003cem>Calvin \u003c/em>in 2018, which follows a young trans boy’s coming out story, Ford said they couldn’t find any books with transgender characters of color.\u003c/p>\n\u003cp>But over the years, the selection has expanded with the addition of books like \u003cem>My Rainbow\u003c/em> and Kyle Lukoff’s \u003cem>When Aidan Became A Brother.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13911382\" class=\"wp-caption aligncenter\" style=\"max-width: 384px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/calvin_custom-802a07a1aa43e7f9b6c931ebc7cc51da360b72db-s1600-c85.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911382\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/calvin_custom-802a07a1aa43e7f9b6c931ebc7cc51da360b72db-s1600-c85.jpg\" alt=\"A lavender children's book showing a young African American boy's face\" width=\"384\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/calvin_custom-802a07a1aa43e7f9b6c931ebc7cc51da360b72db-s1600-c85.jpg 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/calvin_custom-802a07a1aa43e7f9b6c931ebc7cc51da360b72db-s1600-c85-160x188.jpg 160w\" sizes=\"(max-width: 384px) 100vw, 384px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Calvin’ by JR and Vanessa Ford. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Calvin, \u003c/em>the Fords tell the story of a young trans boy, loosely based on the experiences of their own child, Ellie. In the book, Calvin tells his parents that he is a boy “in his heart, in his brain,” Ford says.\u003c/p>\n\u003cp>“We love you if you are a girl, boy, neither, or both,” Calvin’s dad says. “We love you whoever you are.”\u003c/p>\n\u003cp>After coming out, Calvin is met with nothing but support and acceptance. His friend calls him by his name, and in one scene, his grandparents give him a haircut. Nobody bullies Calvin and no one questions his identity, Ford says.\u003c/p>\n\u003cp>“It sends a message that trans kids can thrive and be happy and wonderful in their environments when those around them support and affirm who they are,” Ford told NPR.\u003c/p>\n\u003cp>Including\u003cem> Calvin\u003c/em> in classrooms was important for Ford, who was a teacher in D.C. public schools for 15 years. She said they’ve done virtual school and library visits all over the country, from Oregon to Pennsylvania to Texas.\u003c/p>\n\u003cp>“We want this being utilized in classrooms as a mirror to kids who need to see themselves, and a window for other kids who need to understand what it means to be gender diverse or transgender,” Ford said.\u003c/p>\n\u003ch2>A story about ‘unconditional love’\u003c/h2>\n\u003cp>Growing up, Maryann Jacob Macias loved ballet. But she didn’t like the itchy, polyester outfit that came with it. She was much more partial to the T-shirt and leggings, which was known as the boys’ costume.\u003c/p>\n\u003cp>A young Jacob Macias later dropped ballet altogether, because she felt she couldn’t do it in a way that was “comfortable for me,” she told NPR. But in her book, \u003cem>Téo’s Tutu\u003c/em>, she tells a story where a young Téo thrives in his tutu. It’s a story about “unconditional love,” she added.\u003c/p>\n\u003cfigure id=\"attachment_13911383\" class=\"wp-caption aligncenter\" style=\"max-width: 406px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/teos-tutu_custom-65c32be9d0d2500828b2bad6f5f2f7c0cdf13d35-s1600-c85.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911383\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/teos-tutu_custom-65c32be9d0d2500828b2bad6f5f2f7c0cdf13d35-s1600-c85.jpg\" alt=\"A colorful children's book cover shows a young child with an Afro dancing in a tutu\" width=\"406\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/teos-tutu_custom-65c32be9d0d2500828b2bad6f5f2f7c0cdf13d35-s1600-c85.jpg 406w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/teos-tutu_custom-65c32be9d0d2500828b2bad6f5f2f7c0cdf13d35-s1600-c85-160x177.jpg 160w\" sizes=\"(max-width: 406px) 100vw, 406px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Téo’s Tutu’ by Maryann Jacob Macias. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the book, she introduces Téo who is growing up in an Indian and Colombian family, mirroring her own family. Téo loves dancing at home with his family, whether Cumbia or Bhangra, she said. And naturally, Téo is very excited for his first ballet class.\u003c/p>\n\u003cp>“When it comes time to decide which outfit to wear in the recital, whether it’s the sparkly tutu or the shimmering silver pants and T-shirt,” Jacob Macias said, “he wonders if the audience will love him back.”\u003c/p>\n\u003cp>Téo’s story tells readers that “you’re magnificent and you deserve to show up as your best self,” Jacob Macias said.\u003c/p>\n\u003cp>It also might help some readers feel seen. Jacob Macias recalls reading books when she was younger where she couldn’t see herself.\u003c/p>\n\u003cp>“I remember not having books where I felt represented as a little brown girl,” Jacob Macias told NPR. “It was always my dream to write those books and I feel very fortunate that I’m able to do that now.”\u003c/p>\n\u003ch2>Queer and trans communities are not monolithic\u003c/h2>\n\u003cp>In less than two weeks, Kyle Lukoff’s latest book \u003cem>Different Kinds of Fruit\u003c/em> is set for release. The book tells the story of Annabelle, who is just starting sixth grade. Annabelle, who’s realizing that she might not like boys the way some other girls do, befriends Bailey, the new kid.\u003c/p>\n\u003cp>Annabelle thinks they’re pretty cool, and she is drawn to their smile. She later learns that her father and Bailey might have something in common.\u003c/p>\n\u003cp>Annabelle’s father later reveals to her that he is trans, and he had given birth to her. But his local trans community wasn’t supportive of his choice, Lukoff told NPR.\u003c/p>\n\u003cp>The novel follows Annabelle’s emotional journey as she learns more about her parents and her own identity.\u003c/p>\n\u003cp>Lukoff hopes the novel shows that queer and trans communities are diverse. Queer and trans people don’t always agree with each other, whether on politics or in the ways folks talk about their identities, he said.\u003c/p>\n\u003cp>“I would love for people to come away from this book and realize that there’s no one correct way to interact with trans people because we often have different needs and experiences,” he said. “And also, that that’s okay.”\u003c/p>\n\u003ch2>A conversation starter for the youngest readers\u003c/h2>\n\u003cp>Behind Tyler Feder’s \u003cem>Bodies are Cool \u003c/em>was an immense spreadsheet. It was filled with all of the qualities of bodies that she wanted to document in the colorful book. The book, she says, carries a bit of a “Where’s Waldo” energy.\u003c/p>\n\u003cfigure id=\"attachment_13911384\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911384\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-800x800.jpg\" alt=\"A children's book with a pink background shows bodies of different shapes, sizes and colors\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85.jpg 1600w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Bodies are Cool’ by Tyler Feder. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Bodies are Cool\u003c/em>, tons of people — maybe more than 100, Feder says — are shown with different gender presentations, hair types, skin colors, body sizes and shapes, she told NPR.\u003c/p>\n\u003cp>Even those who can’t read yet can engage with the book just by looking at the pages, and asking their parents questions if they have any.\u003c/p>\n\u003cp>The book includes folks with top-surgery scars in different stages of healing. Feder hopes the book shows that “it’s normal to be trans or visibly queer or very fat or with a really noticeable disability.”\u003c/p>\n\u003cp>Across all of the pages, joy is universal. Feder depicts colorful crowds of people who love each other, are friendly and are just having fun, she tells NPR.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If [kids] just start out thinking that everyone’s fine how they are, they’ll grow up and not want to discriminate,” she said.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+kids%27+authors+are+telling+the+stories+of+trans+youth.+Book+bans+won%27t+stop+them&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "the-cockettes-san-francisco-public-library-fayette-hauser-scrumbly",
"title": "Celebrating the Sexual Anarchy of The Cockettes at the San Francisco Public Library",
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"headTitle": "Celebrating the Sexual Anarchy of The Cockettes at the San Francisco Public Library | KQED",
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"content": "\u003cp>The year was 1969. Stonewall was kickstarting an LGBTQ+ revolution. Feminism’s second wave was hitting mainstream culture with a list of demands. And in San Francisco, a tight community of flamboyant hippies were out in front of it all, rejecting gender constructs altogether and trying to liberate the world. (Via free love and show tunes, among other things.)\u003c/p>\n\u003cp>They were The Cockettes, a group of performers for whom drag was a way of life. They embraced LSD, communal living and a hefty dose of exhibitionism. Their ranks included disco superstar \u003ca href=\"https://www.youtube.com/watch?v=gD6cPE2BHic\" target=\"_blank\" rel=\"noopener noreferrer\">Sylvester\u003c/a>, and \u003ca href=\"https://www.famousfix.com/topic/miss-harlow\" target=\"_blank\" rel=\"noopener noreferrer\">Miss Harlow\u003c/a>—a groupie who, alongside her friend \u003ca href=\"https://pleasekillme.com/cynthia-plaster-caster/\" target=\"_blank\" rel=\"noopener noreferrer\">Cynthia Plaster Caster\u003c/a>, helped immortalize the genitals of the biggest rock stars of the day. For a decade, The Cockettes enthralled audiences. First, with anarchic, boundary-pushing musical theater and later, with bizarre, low-budget movies. That they were friends with John Waters and Divine should come as no surprise. That their fans included Janis Joplin, John Lennon and Andy Warhol is even more noteworthy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gD6cPE2BHic\u003c/p>\n\u003cp>Starting this month, San Francisco’s main library is honoring The Cockettes with an exhibition at the Hormel LGBTQIA Center and a series of events that will run through August. The exhibition, titled \u003ci>The Cockettes: Acid Drag & Sexual Anarchy\u003c/i> pulls together photos and memories from original Cockette, Fayette Hauser, along with material from other people’s personal collections.\u003c/p>\n\u003cp>Hanging on the Hormel’s interior and the walls immediately outside it, the collection explains who The Cockettes were and why each individual was special. Cabinets with flyers and magazine articles from the 1970s, along with one costume and a table of personal accessories are also featured. As is a Spotify playlist of music from the era that feels decidedly straight-laced for a Cockettes exhibit. (Artists featured include The Beatles, Creedence Clearwater Revival and Free.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those familiar with this period of San Francisco history—especially the ones who have already seen the 2002 documentary, \u003ca href=\"https://www.cockettes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Cockettes\u003c/em>\u003c/a>—will not likely learn much from this exhibit they didn’t already know. But for newbies unfamiliar with this particular group of misfits, it’s a decent primer that piques the interest enough to prompt further research. The most valuable historical information, however, will likely come during the library’s five upcoming events in The Cockettes’ honor.\u003c/p>\n\u003cp>During the opening reception this Thursday, March 17, Hauser will share personal reminiscences in conversation with journalist and San Francisco historian Jim Van Buskirk. Hauser will also be back on March 31 to talk about her book, \u003ca href=\"https://thecockettes.net/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Cockettes: Acid Drag & Sexual Anarchy\u003c/em>\u003c/a>. Most exciting of all, on April 28, there will be a screening of three Cockettes movies—\u003cem>Palace\u003c/em>, \u003cem>Elevator Girls in Bondage\u003c/em> and \u003cem>Tricia’s Wedding\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OgWJFdeZD4o\u003c/p>\n\u003cp>Those wishing to get a flavor of the group’s original stage shows might wish to attend a night of “Cockette Cabaret” featuring “\u003ca href=\"http://www.scrumblymusic.com/pages/bio.html\" target=\"_blank\" rel=\"noopener noreferrer\">Scrumbly & Co.\u003c/a>” on June 23. Hauser will also present a spoken word performance on May 26 backed up by circus troupe, the \u003ca href=\"https://vaudeviresociety.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vau de Vire Society\u003c/a>.\u003c/p>\n\u003cp>Keep in mind before attending all or any of the above that John Waters—the King of Bad Taste, himself—has been known to refer to The Cockettes as “hippie acid freak drag queens” \u003cem>and\u003c/em> “complete sexual anarchy.” You have been warned.\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>\n\u003cp>\u003cem>‘The Cockettes: Acid Drag & Sexual Anarchy’ is on view March 17–Aug. 11 in the James C. Hormel LGBTQIA Center on the third floor of the San Francisco Main Library (100 Larkin Street). \u003ca href=\"https://sfpl.org/exhibits/2022/03/12/cockettes-acid-drag-sexual-anarchy\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year was 1969. Stonewall was kickstarting an LGBTQ+ revolution. Feminism’s second wave was hitting mainstream culture with a list of demands. And in San Francisco, a tight community of flamboyant hippies were out in front of it all, rejecting gender constructs altogether and trying to liberate the world. (Via free love and show tunes, among other things.)\u003c/p>\n\u003cp>They were The Cockettes, a group of performers for whom drag was a way of life. They embraced LSD, communal living and a hefty dose of exhibitionism. Their ranks included disco superstar \u003ca href=\"https://www.youtube.com/watch?v=gD6cPE2BHic\" target=\"_blank\" rel=\"noopener noreferrer\">Sylvester\u003c/a>, and \u003ca href=\"https://www.famousfix.com/topic/miss-harlow\" target=\"_blank\" rel=\"noopener noreferrer\">Miss Harlow\u003c/a>—a groupie who, alongside her friend \u003ca href=\"https://pleasekillme.com/cynthia-plaster-caster/\" target=\"_blank\" rel=\"noopener noreferrer\">Cynthia Plaster Caster\u003c/a>, helped immortalize the genitals of the biggest rock stars of the day. For a decade, The Cockettes enthralled audiences. First, with anarchic, boundary-pushing musical theater and later, with bizarre, low-budget movies. That they were friends with John Waters and Divine should come as no surprise. That their fans included Janis Joplin, John Lennon and Andy Warhol is even more noteworthy.\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/gD6cPE2BHic'\n title='//www.youtube.com/embed/gD6cPE2BHic'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Starting this month, San Francisco’s main library is honoring The Cockettes with an exhibition at the Hormel LGBTQIA Center and a series of events that will run through August. The exhibition, titled \u003ci>The Cockettes: Acid Drag & Sexual Anarchy\u003c/i> pulls together photos and memories from original Cockette, Fayette Hauser, along with material from other people’s personal collections.\u003c/p>\n\u003cp>Hanging on the Hormel’s interior and the walls immediately outside it, the collection explains who The Cockettes were and why each individual was special. Cabinets with flyers and magazine articles from the 1970s, along with one costume and a table of personal accessories are also featured. As is a Spotify playlist of music from the era that feels decidedly straight-laced for a Cockettes exhibit. (Artists featured include The Beatles, Creedence Clearwater Revival and Free.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those familiar with this period of San Francisco history—especially the ones who have already seen the 2002 documentary, \u003ca href=\"https://www.cockettes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Cockettes\u003c/em>\u003c/a>—will not likely learn much from this exhibit they didn’t already know. But for newbies unfamiliar with this particular group of misfits, it’s a decent primer that piques the interest enough to prompt further research. The most valuable historical information, however, will likely come during the library’s five upcoming events in The Cockettes’ honor.\u003c/p>\n\u003cp>During the opening reception this Thursday, March 17, Hauser will share personal reminiscences in conversation with journalist and San Francisco historian Jim Van Buskirk. Hauser will also be back on March 31 to talk about her book, \u003ca href=\"https://thecockettes.net/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Cockettes: Acid Drag & Sexual Anarchy\u003c/em>\u003c/a>. Most exciting of all, on April 28, there will be a screening of three Cockettes movies—\u003cem>Palace\u003c/em>, \u003cem>Elevator Girls in Bondage\u003c/em> and \u003cem>Tricia’s Wedding\u003c/em>.\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/OgWJFdeZD4o'\n title='//www.youtube.com/embed/OgWJFdeZD4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Those wishing to get a flavor of the group’s original stage shows might wish to attend a night of “Cockette Cabaret” featuring “\u003ca href=\"http://www.scrumblymusic.com/pages/bio.html\" target=\"_blank\" rel=\"noopener noreferrer\">Scrumbly & Co.\u003c/a>” on June 23. Hauser will also present a spoken word performance on May 26 backed up by circus troupe, the \u003ca href=\"https://vaudeviresociety.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vau de Vire Society\u003c/a>.\u003c/p>\n\u003cp>Keep in mind before attending all or any of the above that John Waters—the King of Bad Taste, himself—has been known to refer to The Cockettes as “hippie acid freak drag queens” \u003cem>and\u003c/em> “complete sexual anarchy.” You have been warned.\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>\n\u003cp>\u003cem>‘The Cockettes: Acid Drag & Sexual Anarchy’ is on view March 17–Aug. 11 in the James C. Hormel LGBTQIA Center on the third floor of the San Francisco Main Library (100 Larkin Street). \u003ca href=\"https://sfpl.org/exhibits/2022/03/12/cockettes-acid-drag-sexual-anarchy\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Reissue Helps Revive Joseph Hansen's Series About a Tough, Gay Detective",
"headTitle": "A Reissue Helps Revive Joseph Hansen’s Series About a Tough, Gay Detective | KQED",
"content": "\u003cp>Ever since I was given my first Hardy Boys book, I’ve loved American crime fiction. In my younger years, I mulched my way through the canonical books of \u003ca href=\"https://www.npr.org/2011/03/08/134364342/50-years-after-his-death-a-new-thrill-from-hammett\" target=\"_blank\" rel=\"noopener noreferrer\">Dashiell Hammett\u003c/a>, Raymond Chandler and \u003ca href=\"https://www.npr.org/2015/04/21/401222454/revisiting-a-suburbia-gone-sour-in-ross-macdonalds-crime-fiction\" target=\"_blank\" rel=\"noopener noreferrer\">Ross Macdonald\u003c/a>, then moved on to the likes of \u003ca href=\"https://www.npr.org/2017/08/22/545261350/if-you-want-groundbreaking-noir-try-looking-in-a-lonely-place\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy B. Hughes\u003c/a>, \u003ca href=\"https://www.npr.org/2017/07/26/539487052/new-chester-himes-biography-reveals-a-life-as-wild-as-any-detective-story\" target=\"_blank\" rel=\"noopener noreferrer\">Chester Himes\u003c/a>, and Charles Willeford. I felt sure I’d read at least one book by everybody that’s good.\u003c/p>\n\u003cp>I was wrong. I didn’t know the work of \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4207079\" target=\"_blank\" rel=\"noopener noreferrer\">Joseph Hansen\u003c/a>. Back in 1970, Hansen began a series of 12 novels about an LA insurance investigator named Dave Brandstetter. The novels were something daring and new: featuring a tough guy detective who was also gay. Now in 2022, Soho Syndicate Books has just begun republishing the entire series, beginning with the first three—\u003cem>Fadeout\u003c/em>, \u003cem>Death Claims \u003c/em>and \u003cem>Troublemaker. \u003c/em>Having just read them, I’m a bit embarrassed it took me so long to discover him.\u003c/p>\n\u003cp>[aside postid='arts_13904458']Because the series progresses through time, you should start with the first one, \u003cem>Fadeout\u003c/em>, which introduces us to Brandstetter, an honest, hard-nosed World War II vet. As the story begins, his company has sent him to the ranch town of Pima, Ariz., to investigate the case of a radio personality named Fox Olson who has disappeared after a mysterious automobile mishap. If he’s committed suicide, they won’t have to pay the insurance.\u003c/p>\n\u003cp>Naturally, Brandstetter is soon caught in the usual crime-story briar patch, where one murder leads to another and the key to everything lies hidden in the past. Just as naturally, the dogged Brandstetter must work his way through a whole range of potential killers, from Olson’s hard-edged wife to the bullying local mayor whom Olson was hoping to unseat. And is Olson’s adoring young assistant really as sweet as she seems?\u003c/p>\n\u003cp>Hansen unfolds all this with taut economy, yet he’s equally deft in his handling of Brandstetter’s private life. Unlike most crime writers, he makes his hero’s personal life essential.\u003c/p>\n\u003cfigure id=\"attachment_13909310\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909310\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-800x1205.jpg\" alt=\"\" width=\"800\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-1360x2048.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525.jpg 1494w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Fadeout,’ by Joseph Hansen. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fadeout\u003c/em> has the confidence to treat Brandstetter’s gayness matter-of-factly. We learn that he is mourning his longtime lover, a decorator, who has recently died; we see him go to a gay bar and hang out with his best friend, a lesbian named Madge who’s overly susceptible to lovely young women; and we watch him being wooed by a cute young fella he just may sleep with. Through it all, Brandstetter displays the virile, no-nonsense romanticism of a Humphrey Bogart character.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Without ever hitting us over the head, Hansen reminds us that gay life is infinitely more varied than the insulting stereotypes that long dominated our culture, not least in the work of hard boiled crime writers. There’s a great exchange in the novel \u003cem>Death Claims\u003c/em>, when Brandstetter asks a young male suspect about his close friendship with another guy.\u003c/p>\n\u003cblockquote>\u003cp>“Do I look like a f–?” the guy sneers.\u003c/p>\n\u003cp>“I don’t know what a f– looks like,” Brandstetter replies. “And neither does anyone else.”\u003c/p>\u003c/blockquote>\n\u003cp>You can’t say it better than that.\u003c/p>\n\u003cp>Now, it would be an insult to Hansen to imply that his work is mainly of historical or sociological interest. Yes, Brandstetter is a groundbreaking figure. Yes, the plots sometimes turn on the psychic violence of being closeted. And yes, the series charts the changes in gay life over the years.\u003c/p>\n\u003cp>[aside postid='arts_13900522']Yet, even if his books weren’t trailblazing, Hansen would still be a terrific mystery writer. He’s every bit as good a stylist as Ross Macdonald, with a similarly poetic eye for Southern California’s defining blend of the sun-dazzled and the bleak. He populates his books with niftily sketched characters—from chirpy innkeepers and bellicose mechanics to fading movie stars and self-satisfied hippies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in Brandstetter, Hansen has created a hero worthy of such predecessors as Chandler’s Philip Marlowe and Macdonald’s Lew Archer. Smart, tough, witty and honorable, Dave Brandstetter is also too good to be true. But who cares? Hansen’s a talented enough storyteller that, book after book, we’re happy to walk down the mean streets in his company.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+reissue+helps+revive+Joseph+Hansen%27s+series+about+a+tough%2C+gay+detective+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ever since I was given my first Hardy Boys book, I’ve loved American crime fiction. In my younger years, I mulched my way through the canonical books of \u003ca href=\"https://www.npr.org/2011/03/08/134364342/50-years-after-his-death-a-new-thrill-from-hammett\" target=\"_blank\" rel=\"noopener noreferrer\">Dashiell Hammett\u003c/a>, Raymond Chandler and \u003ca href=\"https://www.npr.org/2015/04/21/401222454/revisiting-a-suburbia-gone-sour-in-ross-macdonalds-crime-fiction\" target=\"_blank\" rel=\"noopener noreferrer\">Ross Macdonald\u003c/a>, then moved on to the likes of \u003ca href=\"https://www.npr.org/2017/08/22/545261350/if-you-want-groundbreaking-noir-try-looking-in-a-lonely-place\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy B. Hughes\u003c/a>, \u003ca href=\"https://www.npr.org/2017/07/26/539487052/new-chester-himes-biography-reveals-a-life-as-wild-as-any-detective-story\" target=\"_blank\" rel=\"noopener noreferrer\">Chester Himes\u003c/a>, and Charles Willeford. I felt sure I’d read at least one book by everybody that’s good.\u003c/p>\n\u003cp>I was wrong. I didn’t know the work of \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4207079\" target=\"_blank\" rel=\"noopener noreferrer\">Joseph Hansen\u003c/a>. Back in 1970, Hansen began a series of 12 novels about an LA insurance investigator named Dave Brandstetter. The novels were something daring and new: featuring a tough guy detective who was also gay. Now in 2022, Soho Syndicate Books has just begun republishing the entire series, beginning with the first three—\u003cem>Fadeout\u003c/em>, \u003cem>Death Claims \u003c/em>and \u003cem>Troublemaker. \u003c/em>Having just read them, I’m a bit embarrassed it took me so long to discover him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because the series progresses through time, you should start with the first one, \u003cem>Fadeout\u003c/em>, which introduces us to Brandstetter, an honest, hard-nosed World War II vet. As the story begins, his company has sent him to the ranch town of Pima, Ariz., to investigate the case of a radio personality named Fox Olson who has disappeared after a mysterious automobile mishap. If he’s committed suicide, they won’t have to pay the insurance.\u003c/p>\n\u003cp>Naturally, Brandstetter is soon caught in the usual crime-story briar patch, where one murder leads to another and the key to everything lies hidden in the past. Just as naturally, the dogged Brandstetter must work his way through a whole range of potential killers, from Olson’s hard-edged wife to the bullying local mayor whom Olson was hoping to unseat. And is Olson’s adoring young assistant really as sweet as she seems?\u003c/p>\n\u003cp>Hansen unfolds all this with taut economy, yet he’s equally deft in his handling of Brandstetter’s private life. Unlike most crime writers, he makes his hero’s personal life essential.\u003c/p>\n\u003cfigure id=\"attachment_13909310\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909310\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-800x1205.jpg\" alt=\"\" width=\"800\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-1360x2048.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525.jpg 1494w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Fadeout,’ by Joseph Hansen. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fadeout\u003c/em> has the confidence to treat Brandstetter’s gayness matter-of-factly. We learn that he is mourning his longtime lover, a decorator, who has recently died; we see him go to a gay bar and hang out with his best friend, a lesbian named Madge who’s overly susceptible to lovely young women; and we watch him being wooed by a cute young fella he just may sleep with. Through it all, Brandstetter displays the virile, no-nonsense romanticism of a Humphrey Bogart character.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Without ever hitting us over the head, Hansen reminds us that gay life is infinitely more varied than the insulting stereotypes that long dominated our culture, not least in the work of hard boiled crime writers. There’s a great exchange in the novel \u003cem>Death Claims\u003c/em>, when Brandstetter asks a young male suspect about his close friendship with another guy.\u003c/p>\n\u003cblockquote>\u003cp>“Do I look like a f–?” the guy sneers.\u003c/p>\n\u003cp>“I don’t know what a f– looks like,” Brandstetter replies. “And neither does anyone else.”\u003c/p>\u003c/blockquote>\n\u003cp>You can’t say it better than that.\u003c/p>\n\u003cp>Now, it would be an insult to Hansen to imply that his work is mainly of historical or sociological interest. Yes, Brandstetter is a groundbreaking figure. Yes, the plots sometimes turn on the psychic violence of being closeted. And yes, the series charts the changes in gay life over the years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet, even if his books weren’t trailblazing, Hansen would still be a terrific mystery writer. He’s every bit as good a stylist as Ross Macdonald, with a similarly poetic eye for Southern California’s defining blend of the sun-dazzled and the bleak. He populates his books with niftily sketched characters—from chirpy innkeepers and bellicose mechanics to fading movie stars and self-satisfied hippies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in Brandstetter, Hansen has created a hero worthy of such predecessors as Chandler’s Philip Marlowe and Macdonald’s Lew Archer. Smart, tough, witty and honorable, Dave Brandstetter is also too good to be true. But who cares? Hansen’s a talented enough storyteller that, book after book, we’re happy to walk down the mean streets in his company.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+reissue+helps+revive+Joseph+Hansen%27s+series+about+a+tough%2C+gay+detective+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Jeopardy!\u003c/em> champion Amy Schneider has done it again.\u003c/p>\n\u003cp>She extended her historic winning streak on Monday night, dominating her 39th game to officially become the contestant with the second-most consecutive wins of all time.\u003c/p>\n\u003cp>[aside postid='arts_13907974']That title had previously been held by graduate student Matt Amodio, whose 38-game streak \u003ca href=\"https://www.npr.org/2021/10/12/1045235304/jeopardy-matt-amodio-winning-streak-ends\" target=\"_blank\" rel=\"noopener noreferrer\">ended in October 2021\u003c/a> (the two will face off in the next Tournament of Champions). The all-time record belongs to \u003ca href=\"https://www.npr.org/2020/11/24/938282727/ken-jennings-who-is-first-jeopardy-guest-host\" target=\"_blank\" rel=\"noopener noreferrer\">legend Ken Jennings\u003c/a>, who won 74 consecutive games in 2004 and has a front-row seat to Schneider’s ascendancy as the current guest host of the show.\u003c/p>\n\u003cp>After Schneider won last night’s game—despite answering incorrectly \u003ca href=\"https://www.usatoday.com/story/entertainment/tv/2022/01/25/jeopardy-winner-amy-schneider-wins-second-best-39-games/9199637002/\" target=\"_blank\" rel=\"noopener noreferrer\">in Final Jeopardy\u003c/a>—Jennings announced the milestone onstage as the audience applauded.\u003c/p>\n\u003cp>“It still feels unreal,” Schneider said in a statement. “Knowing that I had this chance, I was definitely thinking about it. Then Ken said it, and I thought, ‘Alright, I just accomplished this huge thing’ and it was pretty great.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Schneider’s winnings now total $1,319,800.\u003c/p>\n\u003cp>The engineering manager from Oakland has already shattered her share of records since beginning her run on Nov. 17.\u003c/p>\n\u003cp>Schneider became just the fifth millionaire in show history (and the fourth to reach that milestone in regular play) as well as the highest-winning female contestant. She’s also the first openly trans contestant to qualify for the show’s Tournament of Champions.\u003c/p>\n\u003cp>She spoke to NPR earlier this month about her experience and\u003ca href=\"https://www.npr.org/2022/01/11/1071916196/jeopardy-champion-amy-schneider-on-streak-trans-representation\" target=\"_blank\" rel=\"noopener noreferrer\"> the importance of representation\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>This story originally appeared in \u003ca href=\"https://www.npr.org/live-updates/morning-edition-2022-01-25#amy-schneider-now-has-the-2nd-highest-winning-streak-in-jeopardy-history\" target=\"_blank\" rel=\"noopener noreferrer\">the \u003cem>Morning Edition \u003c/em>live blog\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Amy+Schneider+now+has+the+2nd-highest+winning+streak+in+%27Jeopardy%21%27+history&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That title had previously been held by graduate student Matt Amodio, whose 38-game streak \u003ca href=\"https://www.npr.org/2021/10/12/1045235304/jeopardy-matt-amodio-winning-streak-ends\" target=\"_blank\" rel=\"noopener noreferrer\">ended in October 2021\u003c/a> (the two will face off in the next Tournament of Champions). The all-time record belongs to \u003ca href=\"https://www.npr.org/2020/11/24/938282727/ken-jennings-who-is-first-jeopardy-guest-host\" target=\"_blank\" rel=\"noopener noreferrer\">legend Ken Jennings\u003c/a>, who won 74 consecutive games in 2004 and has a front-row seat to Schneider’s ascendancy as the current guest host of the show.\u003c/p>\n\u003cp>After Schneider won last night’s game—despite answering incorrectly \u003ca href=\"https://www.usatoday.com/story/entertainment/tv/2022/01/25/jeopardy-winner-amy-schneider-wins-second-best-39-games/9199637002/\" target=\"_blank\" rel=\"noopener noreferrer\">in Final Jeopardy\u003c/a>—Jennings announced the milestone onstage as the audience applauded.\u003c/p>\n\u003cp>“It still feels unreal,” Schneider said in a statement. “Knowing that I had this chance, I was definitely thinking about it. Then Ken said it, and I thought, ‘Alright, I just accomplished this huge thing’ and it was pretty great.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Schneider’s winnings now total $1,319,800.\u003c/p>\n\u003cp>The engineering manager from Oakland has already shattered her share of records since beginning her run on Nov. 17.\u003c/p>\n\u003cp>Schneider became just the fifth millionaire in show history (and the fourth to reach that milestone in regular play) as well as the highest-winning female contestant. She’s also the first openly trans contestant to qualify for the show’s Tournament of Champions.\u003c/p>\n\u003cp>She spoke to NPR earlier this month about her experience and\u003ca href=\"https://www.npr.org/2022/01/11/1071916196/jeopardy-champion-amy-schneider-on-streak-trans-representation\" target=\"_blank\" rel=\"noopener noreferrer\"> the importance of representation\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>This story originally appeared in \u003ca href=\"https://www.npr.org/live-updates/morning-edition-2022-01-25#amy-schneider-now-has-the-2nd-highest-winning-streak-in-jeopardy-history\" target=\"_blank\" rel=\"noopener noreferrer\">the \u003cem>Morning Edition \u003c/em>live blog\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Amy+Schneider+now+has+the+2nd-highest+winning+streak+in+%27Jeopardy%21%27+history&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>An Oakland resident is now the first woman—and one of only four people ever—to win over a million dollars on \u003cem>Jeopardy!\u003c/em> And with 29 wins under her belt (and counting), there’s no telling how far \u003ca href=\"https://twitter.com/Jeopardamy\" target=\"_blank\" rel=\"noopener noreferrer\">Amy Schneider\u003c/a> will go.\u003c/p>\n\u003cp>[aside postid='arts_13901062']The engineering manager was already the first transgender person to qualify for the game show’s prestigious Tournament of Champions. But on Friday, Jan. 7, Schneider pushed her winnings into seven figures—$1,019,600 to be precise—by successfully answering a question about Norwegian literature. (The answer, incidentally, was “Who is Heyerdahl?”)\u003c/p>\n\u003cp>Now, after nearly three months on one of TV’s most popular syndicated shows, Schneider has also become one of the most recognizable trans women in the country. The fame has led to online abuse—but it’s also opened the minds of some unlikely folks in the show’s audience.\u003c/p>\n\u003cp>https://twitter.com/JLCool3/status/1477015685884645377\u003c/p>\n\u003cp>https://twitter.com/annesoffee/status/1477049429903527936\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/BelgianFriar/status/1476970437468835843\u003c/p>\n\u003cp>Schneider’s identity as a trans woman has been touched on only briefly within the confines of the show. Her most prominent gesture came during the week of Thanksgiving, when she wore a small trans flag pin.\u003c/p>\n\u003cp>She initially made a few comments on Twitter about the decision to do so:\u003c/p>\n\u003cp>https://twitter.com/Jeopardamy/status/1464356254801793024\u003c/p>\n\u003cp>Later, Schneider elaborated on her flag pin during a special \u003ca href=\"https://twitter.com/Jeopardy/status/1464368375044268036\" target=\"_blank\" rel=\"noopener noreferrer\">behind-the-scenes segment for \u003cem>Jeopardy!\u003c/em>\u003c/a>. “Thanksgiving is a time for family,” she explained, “and sadly, it’s still true for a lot of trans people that that can be difficult for them. That they may have a difficult relationship with their families. I’m fortunate not to have that issue myself, but I know it’s out there, so I just wanted to send that message of support.”\u003c/p>\n\u003cp>Schneider’s message was received loud and clear. One viewer named Cassandra noted on Twitter that her non-binary child was “walking taller and feeling good” simply because of Schneider’s daily visibility on their television screen.\u003c/p>\n\u003cp>https://twitter.com/CassandraKend15/status/1478823350206013441\u003c/p>\n\u003cp>In addition to her amazing intellect, Schneider just seems—well—cool. A Warriors fan since she first moved to the Bay in 2009, she showed up at the Chase Center to witness Klay Thompson’s return on Jan. 9.\u003c/p>\n\u003cp>[aside postid='pop_96696']Schneider was also quick to brush off the \u003ca href=\"https://www.washingtonpost.com/nation/2022/01/05/jeopardy-winner-amy-schneider-robbed/\" target=\"_blank\" rel=\"noopener noreferrer\">widely reported robbery she was subjected to\u003c/a>, at gunpoint, on Jan. 2. She tweeted only that she would be a little less active on social media as she got the contents of her wallet back in order. (“I’m fine,” she wrote.)\u003c/p>\n\u003cp>What’s more, a December essay for Defector titled “\u003ca href=\"https://defector.com/how-i-got-smart/\" target=\"_blank\" rel=\"noopener noreferrer\">How I Got Smart\u003c/a>” proved Schneider to be disarmingly self-aware, and in possession of a charming sense of humor. In it, she noted:\u003c/p>\n\u003cblockquote>\u003cp>Given my traditional Catholic upbringing, I obviously can’t just let somebody compliment me without resistance. If I just go around letting people praise me willy-nilly, what’s next? Having self-worth? Pursuing my dreams? \u003cem>Pre-marital sex\u003c/em>?!?!\u003c/p>\u003c/blockquote>\n\u003cp>She went on:\u003c/p>\n\u003cblockquote>\u003cp>I am white, and until well into adulthood, was perceived as male. Had that not been the case, my intelligence would have been seen as surprising at best, and threatening at worst … I was never discouraged from acquiring knowledge. (Well, almost never; I was strongly discouraged from acquiring any knowledge whatsoever about human sexuality, with … mixed results.)\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>So what’s next for Amy Schneider? Well, as of yesterday, she’s only three wins away from matching \u003ca href=\"https://en.wikipedia.org/wiki/James_Holzhauer\" target=\"_blank\" rel=\"noopener noreferrer\">James Holzhauer’s record\u003c/a> and nine wins from matching \u003ca href=\"https://twitter.com/amodiomatt\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Amodio\u003c/a>’s. \u003ca href=\"https://en.wikipedia.org/wiki/Ken_Jennings\" target=\"_blank\" rel=\"noopener noreferrer\">Ken Jennings\u003c/a>’ 74-game streak will prove a little tougher to beat. If she manages it though, the Bay—and the rest of the country—will surely be cheering her on.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Schneider’s identity as a trans woman has been touched on only briefly within the confines of the show. Her most prominent gesture came during the week of Thanksgiving, when she wore a small trans flag pin.\u003c/p>\n\u003cp>She initially made a few comments on Twitter about the decision to do so:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Later, Schneider elaborated on her flag pin during a special \u003ca href=\"https://twitter.com/Jeopardy/status/1464368375044268036\" target=\"_blank\" rel=\"noopener noreferrer\">behind-the-scenes segment for \u003cem>Jeopardy!\u003c/em>\u003c/a>. “Thanksgiving is a time for family,” she explained, “and sadly, it’s still true for a lot of trans people that that can be difficult for them. That they may have a difficult relationship with their families. I’m fortunate not to have that issue myself, but I know it’s out there, so I just wanted to send that message of support.”\u003c/p>\n\u003cp>Schneider’s message was received loud and clear. One viewer named Cassandra noted on Twitter that her non-binary child was “walking taller and feeling good” simply because of Schneider’s daily visibility on their television screen.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In addition to her amazing intellect, Schneider just seems—well—cool. A Warriors fan since she first moved to the Bay in 2009, she showed up at the Chase Center to witness Klay Thompson’s return on Jan. 9.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Schneider was also quick to brush off the \u003ca href=\"https://www.washingtonpost.com/nation/2022/01/05/jeopardy-winner-amy-schneider-robbed/\" target=\"_blank\" rel=\"noopener noreferrer\">widely reported robbery she was subjected to\u003c/a>, at gunpoint, on Jan. 2. She tweeted only that she would be a little less active on social media as she got the contents of her wallet back in order. (“I’m fine,” she wrote.)\u003c/p>\n\u003cp>What’s more, a December essay for Defector titled “\u003ca href=\"https://defector.com/how-i-got-smart/\" target=\"_blank\" rel=\"noopener noreferrer\">How I Got Smart\u003c/a>” proved Schneider to be disarmingly self-aware, and in possession of a charming sense of humor. In it, she noted:\u003c/p>\n\u003cblockquote>\u003cp>Given my traditional Catholic upbringing, I obviously can’t just let somebody compliment me without resistance. If I just go around letting people praise me willy-nilly, what’s next? Having self-worth? Pursuing my dreams? \u003cem>Pre-marital sex\u003c/em>?!?!\u003c/p>\u003c/blockquote>\n\u003cp>She went on:\u003c/p>\n\u003cblockquote>\u003cp>I am white, and until well into adulthood, was perceived as male. Had that not been the case, my intelligence would have been seen as surprising at best, and threatening at worst … I was never discouraged from acquiring knowledge. (Well, almost never; I was strongly discouraged from acquiring any knowledge whatsoever about human sexuality, with … mixed results.)\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>So what’s next for Amy Schneider? Well, as of yesterday, she’s only three wins away from matching \u003ca href=\"https://en.wikipedia.org/wiki/James_Holzhauer\" target=\"_blank\" rel=\"noopener noreferrer\">James Holzhauer’s record\u003c/a> and nine wins from matching \u003ca href=\"https://twitter.com/amodiomatt\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Amodio\u003c/a>’s. \u003ca href=\"https://en.wikipedia.org/wiki/Ken_Jennings\" target=\"_blank\" rel=\"noopener noreferrer\">Ken Jennings\u003c/a>’ 74-game streak will prove a little tougher to beat. If she manages it though, the Bay—and the rest of the country—will surely be cheering her on.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Michaela Jaé Rodriguez From 'Pose' is the 1st Trans Actress to Win a Golden Globe",
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"content": "\u003cp>The Golden Globes were \u003ca href=\"https://www.npr.org/live-updates/morning-edition-2022-01-10#the-golden-globes-tarnished-by-scandal-were-awarded-privately-this-year\" target=\"_blank\" rel=\"noopener noreferrer\">handed out in a private ceremony this year\u003c/a>, after a series of scandals rocked the Hollywood Foreign Press Association and tarnished the award show’s reputation.\u003c/p>\n\u003cp>Sunday night’s low-key ceremony did have one standout moment, however: \u003cem>Pose\u003c/em>‘s Michaela Jaé Rodriguez \u003ca href=\"https://www.goldenglobes.com/winners-nominees\" target=\"_blank\" rel=\"noopener noreferrer\">took home the award\u003c/a> for best television actress in a drama series, making history as the first transgender actress to win a Golden Globe.\u003c/p>\n\u003cp>While there were no televised announcements or acceptance speeches, Rodriguez gave an emotional speech on Instagram Live in which she thanked those who worked on the show and spoke of paving the way for others.\u003c/p>\n\u003cp>https://twitter.com/PopCrave/status/1480389921810444293\u003c/p>\n\u003cp>“This is for the LGBTQAI, Black, Latina, Asian, the many multi beautiful colors of the rainbow around the freaking world. This not just for me, this is for y’all,” she said. “There are going to be so many young individuals—young, talented thriving individuals—that are going to be able to trail in and storm in through the door. This is for y’all.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/CYiNziOLrV0\u003c/p>\n\u003cp>\u003cem>Pose\u003c/em>, which \u003ca href=\"https://www.npr.org/2021/06/01/1002067477/saying-goodbye-to-the-groundbreaking-pose\" target=\"_blank\" rel=\"noopener noreferrer\">wrapped up its third and final season\u003c/a> in June, tells the story of trans and queer people of color and the underground ballroom culture they cultivated in New York City in the 1980s and 1990s.\u003c/p>\n\u003cp>The groundbreaking show became “a hit for its bold depiction of joy and trauma of LGBTQ life amidst the backdrop of the AIDS crisis,” as NPR’s \u003ca href=\"https://www.npr.org/2021/06/01/1002067477/saying-goodbye-to-the-groundbreaking-pose\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pop Culture Happy Hour\u003c/em>\u003c/a> put it. And it made TV history with the largest cast of transgender actors in series regular roles, \u003ca href=\"https://www.fxnetworks.com/shows/pose\" target=\"_blank\" rel=\"noopener noreferrer\">according to FX\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13834307']Rodriguez played Blanca Evangelista, an HIV-positive ball competitor who left her ballroom “house” to start a new one from scratch. The nurturing house mother was at the center of the series, which has been hailed by critics but historically snubbed at awards shows. For instance, Rodriguez’s Golden Globe was also \u003cem>Pose\u003c/em>‘s first.\u003c/p>\n\u003cp>Since its start in 2018, \u003cem>Pose\u003c/em> has \u003ca href=\"https://www.emmys.com/shows/pose\" target=\"_blank\" rel=\"noopener noreferrer\">received 20 Emmy nominations\u003c/a> and four awards. In 2019, Billy Porter became the first openly gay Black man to\u003ca href=\"https://www.rollingstone.com/tv/tv-news/emmys-2019-billy-porter-wins-pose-888589/\" target=\"_blank\" rel=\"noopener noreferrer\"> win the best actor Emmy\u003c/a> for his role in the show.\u003c/p>\n\u003cp>\u003cem>Pose\u003c/em> cast members and fans have been vocal about the show’s lack of recognition. In 2020, stars \u003ca href=\"https://www.today.com/popculture/pose-stars-speak-out-against-emmy-snubs-black-trans-actors-t188130\" target=\"_blank\" rel=\"noopener noreferrer\">Indya Moore and Angelica Ross spoke out against the Emmys\u003c/a> for overlooking the show’s Black transgender cast in its list of nominees.\u003c/p>\n\u003cp>“Something abt trans ppl not being honored on a show abt trans ppl who created a culture to honor ourselves bc the world doesn’t,” Moore tweeted from their since-deleted account.\u003c/p>\n\u003cp>“I want you to know from the jump that these tears are not about an award or a nomination,” Ross said on Instagram at the time. “Ultimately, I need y’all to understand that I’m so tired—those of you who know me know I’m not just working on screen or behind screen but I’m working around the clock to get our society to value trans lives and Black trans lives.”\u003c/p>\n\u003cp>In a 2020 \u003ca href=\"https://www.emmys.com/news/member-news/in-my-opinion/mj-rodriguez\" target=\"_blank\" rel=\"noopener noreferrer\">opinion piece\u003c/a> for the Television Academy, Rodriguez wrote about the career challenges she faced as an Afro-Latina and called for more representation of Black and Latino communities behind and in front of the cameras, urging the Academy to give marginalized groups a seat at the table and recognize their hard work, art and talent.\u003c/p>\n\u003cp>Rodriguez made history last summer when she became the \u003ca href=\"https://www.npr.org/2021/07/14/1015863360/nonbinary-gender-neutral-emmy-awards-oscars-tonys-mj-rodriguez-asia-kate-dillon\" target=\"_blank\" rel=\"noopener noreferrer\">first openly transgender performer\u003c/a> to be nominated for a lead acting Emmy in a full-length series, an award she ultimately did not win.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.npr.org/2018/06/17/620280106/you-just-serve-as-much-as-you-can-mj-rodriguez-on-ball-culture-and-pose\" target=\"_blank\" rel=\"noopener noreferrer\">2018 interview with NPR\u003c/a>, Rodriguez described her character as “this rambunctious, very, very nurturing, compassionate, a little bit hardheaded, but ambitious spirit.” She spoke about the parts of Blanca’s experience that bore similarities to her own, like being ostracized from their community but choosing to move forward and lift others up.\u003c/p>\n\u003cp>“There were moments where I was called many derogatory names. I’ve gotten into a couple of fights. People have jumped me,” Rodriguez said. “You know, I’ve had a lot of things that have happened to me, but I look past those things now and now I’m moving forward and I always believe that the experiences that you go through are what make you stronger and what help you push forward through life.”\u003c/p>\n\u003cp>[aside postid='pop_104269']She also reflected on the importance of representation and resilience—and the work that still needs to be done—in an episode of \u003ca href=\"https://www.npr.org/2021/04/22/989925909/mj-rodriguez-on-pose-and-perseverance\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>It’s Been A Minute With Sam Sanders\u003c/em>\u003c/a> last year, as the series came to a close. (Some have already criticized the symbolism of Rodriguez’s historic win coming during a year without a televised ceremony.)\u003c/p>\n\u003cp>Sunday’s quiet ceremony had several other big winners, \u003ca href=\"https://www.goldenglobes.com/winners-nominees\" target=\"_blank\" rel=\"noopener noreferrer\">which you can see here\u003c/a>.\u003c/p>\n\u003cp>On the silver screen: Steven Spielberg’s \u003cem>West Side Story\u003c/em> won best motion picture musical or comedy, with actors Rachel Zegler and Ariana DeBose taking home awards too. Jane Campion’s \u003cem>The Power of the Dog\u003c/em> won best motion picture drama, and she won for best director.\u003c/p>\n\u003cp>Television’s victors included \u003cem>Succession\u003c/em>, \u003cem>Hacks\u003c/em> and \u003cem>The Underground Railroad.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>This story originally appeared in the \u003cem>Morning Edition\u003c/em> live blog.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michaela+Ja%C3%A9+Rodriguez+from+%27Pose%27+is+the+1st+trans+actress+to+win+a+Golden+Globe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Pose\u003c/em>, which \u003ca href=\"https://www.npr.org/2021/06/01/1002067477/saying-goodbye-to-the-groundbreaking-pose\" target=\"_blank\" rel=\"noopener noreferrer\">wrapped up its third and final season\u003c/a> in June, tells the story of trans and queer people of color and the underground ballroom culture they cultivated in New York City in the 1980s and 1990s.\u003c/p>\n\u003cp>The groundbreaking show became “a hit for its bold depiction of joy and trauma of LGBTQ life amidst the backdrop of the AIDS crisis,” as NPR’s \u003ca href=\"https://www.npr.org/2021/06/01/1002067477/saying-goodbye-to-the-groundbreaking-pose\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pop Culture Happy Hour\u003c/em>\u003c/a> put it. And it made TV history with the largest cast of transgender actors in series regular roles, \u003ca href=\"https://www.fxnetworks.com/shows/pose\" target=\"_blank\" rel=\"noopener noreferrer\">according to FX\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rodriguez played Blanca Evangelista, an HIV-positive ball competitor who left her ballroom “house” to start a new one from scratch. The nurturing house mother was at the center of the series, which has been hailed by critics but historically snubbed at awards shows. For instance, Rodriguez’s Golden Globe was also \u003cem>Pose\u003c/em>‘s first.\u003c/p>\n\u003cp>Since its start in 2018, \u003cem>Pose\u003c/em> has \u003ca href=\"https://www.emmys.com/shows/pose\" target=\"_blank\" rel=\"noopener noreferrer\">received 20 Emmy nominations\u003c/a> and four awards. In 2019, Billy Porter became the first openly gay Black man to\u003ca href=\"https://www.rollingstone.com/tv/tv-news/emmys-2019-billy-porter-wins-pose-888589/\" target=\"_blank\" rel=\"noopener noreferrer\"> win the best actor Emmy\u003c/a> for his role in the show.\u003c/p>\n\u003cp>\u003cem>Pose\u003c/em> cast members and fans have been vocal about the show’s lack of recognition. In 2020, stars \u003ca href=\"https://www.today.com/popculture/pose-stars-speak-out-against-emmy-snubs-black-trans-actors-t188130\" target=\"_blank\" rel=\"noopener noreferrer\">Indya Moore and Angelica Ross spoke out against the Emmys\u003c/a> for overlooking the show’s Black transgender cast in its list of nominees.\u003c/p>\n\u003cp>“Something abt trans ppl not being honored on a show abt trans ppl who created a culture to honor ourselves bc the world doesn’t,” Moore tweeted from their since-deleted account.\u003c/p>\n\u003cp>“I want you to know from the jump that these tears are not about an award or a nomination,” Ross said on Instagram at the time. “Ultimately, I need y’all to understand that I’m so tired—those of you who know me know I’m not just working on screen or behind screen but I’m working around the clock to get our society to value trans lives and Black trans lives.”\u003c/p>\n\u003cp>In a 2020 \u003ca href=\"https://www.emmys.com/news/member-news/in-my-opinion/mj-rodriguez\" target=\"_blank\" rel=\"noopener noreferrer\">opinion piece\u003c/a> for the Television Academy, Rodriguez wrote about the career challenges she faced as an Afro-Latina and called for more representation of Black and Latino communities behind and in front of the cameras, urging the Academy to give marginalized groups a seat at the table and recognize their hard work, art and talent.\u003c/p>\n\u003cp>Rodriguez made history last summer when she became the \u003ca href=\"https://www.npr.org/2021/07/14/1015863360/nonbinary-gender-neutral-emmy-awards-oscars-tonys-mj-rodriguez-asia-kate-dillon\" target=\"_blank\" rel=\"noopener noreferrer\">first openly transgender performer\u003c/a> to be nominated for a lead acting Emmy in a full-length series, an award she ultimately did not win.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.npr.org/2018/06/17/620280106/you-just-serve-as-much-as-you-can-mj-rodriguez-on-ball-culture-and-pose\" target=\"_blank\" rel=\"noopener noreferrer\">2018 interview with NPR\u003c/a>, Rodriguez described her character as “this rambunctious, very, very nurturing, compassionate, a little bit hardheaded, but ambitious spirit.” She spoke about the parts of Blanca’s experience that bore similarities to her own, like being ostracized from their community but choosing to move forward and lift others up.\u003c/p>\n\u003cp>“There were moments where I was called many derogatory names. I’ve gotten into a couple of fights. People have jumped me,” Rodriguez said. “You know, I’ve had a lot of things that have happened to me, but I look past those things now and now I’m moving forward and I always believe that the experiences that you go through are what make you stronger and what help you push forward through life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She also reflected on the importance of representation and resilience—and the work that still needs to be done—in an episode of \u003ca href=\"https://www.npr.org/2021/04/22/989925909/mj-rodriguez-on-pose-and-perseverance\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>It’s Been A Minute With Sam Sanders\u003c/em>\u003c/a> last year, as the series came to a close. (Some have already criticized the symbolism of Rodriguez’s historic win coming during a year without a televised ceremony.)\u003c/p>\n\u003cp>Sunday’s quiet ceremony had several other big winners, \u003ca href=\"https://www.goldenglobes.com/winners-nominees\" target=\"_blank\" rel=\"noopener noreferrer\">which you can see here\u003c/a>.\u003c/p>\n\u003cp>On the silver screen: Steven Spielberg’s \u003cem>West Side Story\u003c/em> won best motion picture musical or comedy, with actors Rachel Zegler and Ariana DeBose taking home awards too. Jane Campion’s \u003cem>The Power of the Dog\u003c/em> won best motion picture drama, and she won for best director.\u003c/p>\n\u003cp>Television’s victors included \u003cem>Succession\u003c/em>, \u003cem>Hacks\u003c/em> and \u003cem>The Underground Railroad.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>This story originally appeared in the \u003cem>Morning Edition\u003c/em> live blog.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michaela+Ja%C3%A9+Rodriguez+from+%27Pose%27+is+the+1st+trans+actress+to+win+a+Golden+Globe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The weeks-long fight inside Netflix comes to a head today, when employees at the company are expected to walk out, demanding the company better support its trans and nonbinary employees.\u003c/p>\n\u003cp>Netflix co-CEO Ted Sarandos didn’t respond to the walkout directly in a recently published \u003ca href=\"https://www.wsj.com/articles/netflix-co-ceo-says-he-screwed-up-when-defending-dave-chappelle-special-11634696007?st=me99ln8s1oi4y2u&reflink=article_copyURL_share\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Wall Street Journal\u003c/em>\u003c/a> interview, but said, “I’m firmly committed to continue to support artistic freedom for the creators who work with Netflix and increase representation behind the screen and on camera.”\u003c/p>\n\u003cp>But ahead of today’s walkout, a Netflix spokesperson issued a statement that says: “We value our trans colleagues and allies, and understand the deep hurt that’s been caused. We respect the decision of any employee who chooses to walk out, and recognize we have much more work to do both within Netflix and in our content.”\u003c/p>\n\u003cp>[aside postid='arts_13904228']The incident that incited the employee action may have been the company’s handling of Dave Chappelle’s new special, \u003cem>The Closer, \u003c/em>which contains some jokes at the expense of transgender people. But B. Pagels-Minor says the dispute runs deeper.\u003c/p>\n\u003cp>Pagels-Minor is the employee Netflix \u003ca href=\"https://www.npr.org/2021/10/15/1046542295/netflix-fires-employee-as-internal-conflicts-over-latest-dave-chappelle-special-\" target=\"_blank\" rel=\"noopener noreferrer\">recently fired\u003c/a>, alleging that they leaked “confidential, commercially sensitive information” outside the company. The company says that data made its way into a \u003ca href=\"https://www.bloomberg.com/news/articles/2021-10-13/netflix-staff-raised-concerns-about-dave-chappelle-special-before-release?sref=NtpXApny\" target=\"_blank\" rel=\"noopener noreferrer\">Bloomberg article\u003c/a> revealing data about various metrics and expenditures—details the notoriously tight-lipped company usually keeps under wraps.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I collected the data, but I did not leak the data,” says Pagels-Minor, who spoke to NPR. They said they shared the information internally among coworkers, but not to anyone outside the company, and added that when they were terminated, they weren’t offered an opportunity to prove their case.\u003c/p>\n\u003cp>“It was just like: ‘Hey, you’re the person. You’re gone,'” Pagels-Minor says.\u003c/p>\n\u003cp>In a statement, a Netflix spokesperson said that a discrepancy in Pagels-Minor’s account had gone unexplained, and that they had wiped their electronic devices, “making any further investigation impossible.”\u003c/p>\n\u003cp>Pagels-Minor—who started at Netflix as a senior data product manager for membership and finance engineering, before moving on to work at the company’s game launch department—says there wasn’t any investigation to begin with.\u003c/p>\n\u003cp>Pagels-Minor co-led the Employee Resource Group for transgender and non-binary employees, known as Trans*, and was part of one for Black employees, known as Black@. They said the walkout began as a proposal for a day when trans and nonbinary employees would take paid time off as a result of the exhaustion incurred from the Chappelle news cycle, with any other employees invited to join in support. But then Pagels-Minor saw how executives weren’t engaging with questions about the controversy, and started organizing a full blown walkout, along with drafting a list of employee demands.\u003c/p>\n\u003cp>A rally in support of the walkout is also \u003ca href=\"https://www.instagram.com/p/CVLL3hRlUsg/?utm_source=ig_embed&ig_rid=9d877908-171e-4ff2-a6d9-6077df0ea8c6\" target=\"_blank\" rel=\"noopener noreferrer\">planned for today\u003c/a>.\u003c/p>\n\u003cp>The list of demands, first reported by \u003ca href=\"https://www.theverge.com/2021/10/18/22733098/netflix-trans-employees-demands-dave-chappelle-walkout\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Verge\u003c/em>\u003c/a>, includes hiring trans and nonbinary people to executive positions, creating a fund to support trans and nonbinary talent, and adding disclaimers “that specifically flag transphobic language, misogyny, homophobia, hate speech, etc. as required.” It doesn’t ask for anything to be removed from the platform, nor does it mention Chappelle. Instead, it asks for the promotion of trans-affirming content alongside any content deemed anti-trans.\u003c/p>\n\u003cp>[aside postid='pop_112556']Such demands are part of a growing trend of white-collar workers in tech speaking up about the direction of their companies, says Alan Hyde, professor of labor and employment law at Rutgers Law School, and author of \u003cem>Working in Silicon Valley: Economic and Legal Analysis of a High-Velocity Labor Market. \u003c/em>\u003c/p>\n\u003cp>“They want to have a say in the kinds of businesses their company does, the kind of workplace culture they have, who the clients are. So these have been important demands in motivating worker unrest over the years,” Hyde says, pointing to \u003ca href=\"https://www.npr.org/2020/06/01/867215427/facebook-employees-revolt-over-zuckerbergs-hands-off-approach-to-trump\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>, \u003ca href=\"https://www.npr.org/2021/10/15/1046386968/apple-fires-appletoo-leader-amid-leak-investigation?utm_content=buffer56c26&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer\" target=\"_blank\" rel=\"noopener noreferrer\">Apple\u003c/a> and \u003ca href=\"https://www.npr.org/2021/01/08/954710407/at-google-hundreds-of-workers-formed-a-labor-union-why-to-protect-ourselves\" target=\"_blank\" rel=\"noopener noreferrer\">Google\u003c/a> as recent examples.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The usual course of these actions, he explains, is that employees make a lot of noise, the company might change one or two details, then things simmer back down to normal. But in the context of this year, when there’s been a \u003ca href=\"https://www.npr.org/2021/10/14/1046140341/striketober-is-here-with-workers-increasingly-vocal-about-what-they-want\" target=\"_blank\" rel=\"noopener noreferrer\">tremendous surge of labor activity \u003c/a>at firms like John Deere, Kellogg and Kaiser Permanente, Hyde admits, “I’m not sure we’ve seen this movie before.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix+employees+are+staging+a+walkout+today+as+a+fired+organizer+speaks+out&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The weeks-long fight inside Netflix comes to a head today, when employees at the company are expected to walk out, demanding the company better support its trans and nonbinary employees.\u003c/p>\n\u003cp>Netflix co-CEO Ted Sarandos didn’t respond to the walkout directly in a recently published \u003ca href=\"https://www.wsj.com/articles/netflix-co-ceo-says-he-screwed-up-when-defending-dave-chappelle-special-11634696007?st=me99ln8s1oi4y2u&reflink=article_copyURL_share\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Wall Street Journal\u003c/em>\u003c/a> interview, but said, “I’m firmly committed to continue to support artistic freedom for the creators who work with Netflix and increase representation behind the screen and on camera.”\u003c/p>\n\u003cp>But ahead of today’s walkout, a Netflix spokesperson issued a statement that says: “We value our trans colleagues and allies, and understand the deep hurt that’s been caused. We respect the decision of any employee who chooses to walk out, and recognize we have much more work to do both within Netflix and in our content.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The incident that incited the employee action may have been the company’s handling of Dave Chappelle’s new special, \u003cem>The Closer, \u003c/em>which contains some jokes at the expense of transgender people. But B. Pagels-Minor says the dispute runs deeper.\u003c/p>\n\u003cp>Pagels-Minor is the employee Netflix \u003ca href=\"https://www.npr.org/2021/10/15/1046542295/netflix-fires-employee-as-internal-conflicts-over-latest-dave-chappelle-special-\" target=\"_blank\" rel=\"noopener noreferrer\">recently fired\u003c/a>, alleging that they leaked “confidential, commercially sensitive information” outside the company. The company says that data made its way into a \u003ca href=\"https://www.bloomberg.com/news/articles/2021-10-13/netflix-staff-raised-concerns-about-dave-chappelle-special-before-release?sref=NtpXApny\" target=\"_blank\" rel=\"noopener noreferrer\">Bloomberg article\u003c/a> revealing data about various metrics and expenditures—details the notoriously tight-lipped company usually keeps under wraps.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I collected the data, but I did not leak the data,” says Pagels-Minor, who spoke to NPR. They said they shared the information internally among coworkers, but not to anyone outside the company, and added that when they were terminated, they weren’t offered an opportunity to prove their case.\u003c/p>\n\u003cp>“It was just like: ‘Hey, you’re the person. You’re gone,'” Pagels-Minor says.\u003c/p>\n\u003cp>In a statement, a Netflix spokesperson said that a discrepancy in Pagels-Minor’s account had gone unexplained, and that they had wiped their electronic devices, “making any further investigation impossible.”\u003c/p>\n\u003cp>Pagels-Minor—who started at Netflix as a senior data product manager for membership and finance engineering, before moving on to work at the company’s game launch department—says there wasn’t any investigation to begin with.\u003c/p>\n\u003cp>Pagels-Minor co-led the Employee Resource Group for transgender and non-binary employees, known as Trans*, and was part of one for Black employees, known as Black@. They said the walkout began as a proposal for a day when trans and nonbinary employees would take paid time off as a result of the exhaustion incurred from the Chappelle news cycle, with any other employees invited to join in support. But then Pagels-Minor saw how executives weren’t engaging with questions about the controversy, and started organizing a full blown walkout, along with drafting a list of employee demands.\u003c/p>\n\u003cp>A rally in support of the walkout is also \u003ca href=\"https://www.instagram.com/p/CVLL3hRlUsg/?utm_source=ig_embed&ig_rid=9d877908-171e-4ff2-a6d9-6077df0ea8c6\" target=\"_blank\" rel=\"noopener noreferrer\">planned for today\u003c/a>.\u003c/p>\n\u003cp>The list of demands, first reported by \u003ca href=\"https://www.theverge.com/2021/10/18/22733098/netflix-trans-employees-demands-dave-chappelle-walkout\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Verge\u003c/em>\u003c/a>, includes hiring trans and nonbinary people to executive positions, creating a fund to support trans and nonbinary talent, and adding disclaimers “that specifically flag transphobic language, misogyny, homophobia, hate speech, etc. as required.” It doesn’t ask for anything to be removed from the platform, nor does it mention Chappelle. Instead, it asks for the promotion of trans-affirming content alongside any content deemed anti-trans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Such demands are part of a growing trend of white-collar workers in tech speaking up about the direction of their companies, says Alan Hyde, professor of labor and employment law at Rutgers Law School, and author of \u003cem>Working in Silicon Valley: Economic and Legal Analysis of a High-Velocity Labor Market. \u003c/em>\u003c/p>\n\u003cp>“They want to have a say in the kinds of businesses their company does, the kind of workplace culture they have, who the clients are. So these have been important demands in motivating worker unrest over the years,” Hyde says, pointing to \u003ca href=\"https://www.npr.org/2020/06/01/867215427/facebook-employees-revolt-over-zuckerbergs-hands-off-approach-to-trump\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>, \u003ca href=\"https://www.npr.org/2021/10/15/1046386968/apple-fires-appletoo-leader-amid-leak-investigation?utm_content=buffer56c26&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer\" target=\"_blank\" rel=\"noopener noreferrer\">Apple\u003c/a> and \u003ca href=\"https://www.npr.org/2021/01/08/954710407/at-google-hundreds-of-workers-formed-a-labor-union-why-to-protect-ourselves\" target=\"_blank\" rel=\"noopener noreferrer\">Google\u003c/a> as recent examples.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The usual course of these actions, he explains, is that employees make a lot of noise, the company might change one or two details, then things simmer back down to normal. But in the context of this year, when there’s been a \u003ca href=\"https://www.npr.org/2021/10/14/1046140341/striketober-is-here-with-workers-increasingly-vocal-about-what-they-want\" target=\"_blank\" rel=\"noopener noreferrer\">tremendous surge of labor activity \u003c/a>at firms like John Deere, Kellogg and Kaiser Permanente, Hyde admits, “I’m not sure we’ve seen this movie before.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix+employees+are+staging+a+walkout+today+as+a+fired+organizer+speaks+out&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 9
},
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"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": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"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. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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