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"content": "\u003cp>\u003cem>Editor’s note: This episode was filmed under strict guidelines due to the coronavirus pandemic. A trained COVID-19 safety specialist was on-set and careful parameters were followed with the dancers, who are in a “quarantine pod” together, practicing recommended guidelines including regular testing, temperature checks, constant communication and group accountability. Atlanta is currently experiencing a surge in COVID-19 cases and we hope the community remains safe at home until it’s time to dance together again.\u003c/em>\u003c/p>\n\u003cp>\u003cem>KQED Arts’ award-winning video series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is back for a third season! In each episode, meet dancers across the country representing their city’s signature moves. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ICCD_307_Atlanta_ContentDescription.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download Content Description.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>If there’s one comfort the 11 members of Dance Champz of Atlanta have found during the coronavirus pandemic, it’s that they can still dance together. “The pandemic has affected the LGBTQ community and the J-Setting community tremendously because we’re kind of left in limbo,” team founder and captain \u003ca href=\"https://www.instagram.com/live_w_lee/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Leland Thorpe\u003c/a> says. “So when COVID came about, we decided we were going to form a quarantine pod.”\u003c/p>\n\u003cp>“We all love to dance and we all wanted to survive this,” he explains.\u003c/p>\n\u003cp>This practical adaptation in the midst of a global health crisis is emblematic of the group’s approach to J-Setting. “My team is very hard core,” Thorpe says. When they compete on the dance floor with their sharp, synchronized movements set to the beats of Baltimore club-style music, the battles are intense.\u003c/p>\n\u003cfigure id=\"attachment_13885968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/DanceChampz.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13885968 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/DanceChampz-800x450.jpg\" alt='Three Black dancers who are members of Dance Champz of Atlanta pose in matching black velvet outfits in front a mosaic art piece title \"The Fiddler\" that sits on a wall behing them.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Darrius Stephens, Leland Thorpe and Ter’Schard Harris of Dance Champs of Atlanta pose in front of Steve Seaberg’s mosaic titled “The Fiddler” in Cabbagetown neighborhood in Atlanta, GA. During the pandemic, the members of Dance Champz of Atlanta formed a pod. The members regularly check their temperatures and test for COVID-19. \u003ccite>(Photo by Frederick Taylor and Yusef Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We put in a lot of work,” team member \u003ca href=\"http://voyageatl.com/interview/meet-darrius-stephens-dance-champz-atlanta-college-park/\" target=\"_blank\" rel=\"noopener noreferrer\">Darrius Stephens\u003c/a> confirms. The Dance Champz rehearse four days a week, sometimes up to four or five hours a day. When a performance is coming up, Stephens says, “We rehearse almost every day up into that performance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part of their intensity comes from a desire to share their take on J-Setting—one influenced by jazz, modern dance, hip-hop and ballet—with ever-wider audiences. From its very start, J-Setting was a dance born out of resistance to the status quo, and a need for modern flair. Dance Champz are simply carrying that spirit out into the streets of Atlanta.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/1jPRmzJQ2247lWRXoWl8q6\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The story of J-Setting starts on the campus of Jackson State University in 1970. Shirley Middleton, a former majorette with JSU’s marching band (now known as \u003ca href=\"http://www.sonicboomofthesouth.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the Sonic Boom of the South\u003c/a>) met with the university president and requested the majorettes be permitted to “put down their batons” and start dancing to more contemporary music. (At the time, that meant James Brown’s “Make it Funky” and “Hot Pants.”) Middleton established the Prancing Jaycettes, who later became the Prancing J-Settes, and the danceline thrives to this day, known for their marching steps, explosive moves and tightly executed routines. Their signature style has even entered mainstream choreography, most notably \u003ca href=\"https://youtu.be/4m1EFMoRFvY\" target=\"_blank\" rel=\"noopener noreferrer\">Beyoncé’s “Single Ladies”\u003c/a> music video.\u003c/p>\n\u003cfigure id=\"attachment_13885960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/3P8A9445.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885960\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/3P8A9445-800x533.jpg\" alt=\"The Prancing J-Settes, the majorettes of the Jackson State University, pose in matching silver bodysuits on a football field.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Prancing J-Settes is the official name of the Jackson State University majorettes, who dance alongside the Jackson State University marching band, the Sonic Boom of the South. \u003ccite>(Courtesy of Deontae Williams/University Communications)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time it was filling stadiums, J-Setting was going underground. “Wherever there was a marching band,” Thorpe explains, “there were gay men who wanted to do this—not just their moves but their costumes.” J-Setting became a fixture in the LGBTQ+ clubs that surrounded the HBCUs where J-Setting was performed; routines seen at football games would get repeated on the dance floor that same weekend. The “Super Bowl” of the underground J-Setting scene was in competitions at Atlanta’s now-closed \u003ca href=\"https://thegavoice.com/news/atlanta/catching-phillip-boone-owner-founder-traxx/\" target=\"_blank\" rel=\"noopener noreferrer\">Traxx Nightclub\u003c/a>, Thorpe remembers.\u003c/p>\n\u003cfigure id=\"attachment_13885966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/O9T5466.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885966\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/O9T5466-800x1200.jpg\" alt=\"A close-up of a Prancing J-Settes dancer posing in a silver bodysuit with a fringe, nude fishnet stcokings and silver sequin cuffs on her wrists.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466.jpg 1600w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A member of the Prancing J-Settes. \u003ccite>(Courtesy of Charles A. Smith/University Communications)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dance style requires militaristic precision, but it’s also about joy—about knowing oneself and expressing that self-knowledge through dance. (And shiny, sparkly, modified majorette outfits.) Another freeing element of J-Setting comes from its ability to brush away gender binaries with one buck of the body. “Being able to go in and out of femininity and masculinity” is one of the key elements, Stephens says. And for Stephens personally, the dance allows him to defy outside expectations about what his own body can and can’t do.\u003c/p>\n\u003cp>J-Setting is still emerging as an art form, and Thorpe wants to push its boundaries to incorporate other dance styles he grew up performing on the sly in Detroit. He’s interested in challenging some of the relatively new conventions of the male J-Setting scene, both in terms of team size and its membership (Dance Champz has two female dancers in its lineup). Beyond the J-Setting community, the team also hopes for wider acceptance of LGBTQ+ people within the Black community. While Dance Champz have participated in recent Black Lives Matter marches and rallies, Thorpe says he still feels the ostracization that characterized the early days of the underground scene. “I’m considered gay before I’m Black,” Thorpe says. “We don’t always feel part of our Black community.”\u003c/p>\n\u003cp>All their hard work is paying off in terms of local recognition. Dance Champz are the only J-Sette team that performs as part of Atlanta’s Pride celebrations. Maintaining their training regimen during the pandemic, Dance Champz are working towards the day when they can gather once again, to share their skills with both fellow J-Setters and the city of Atlanta. More conservative than many in the name of COVID-19 safety, they’re skipping the club scene for now, forgoing the J-Sette battles at Pride over Labor day weekend, and mainly practicing outdoors.\u003c/p>\n\u003cfigure id=\"attachment_13885986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-800x422.jpg\" alt='Members of Dance Champz of Atlanta pose in red customized jerseys that read \"Champz Atlanta\". They are wearing fabric masks that cover the lower half of their faces. This photo is taken at sunset in Piedmont Park in Atlanta, GA.' width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-2048x1080.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-1920x1013.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">During the pandemic, the members of Dance Champz of Atlanta formed a pod. The members regularly check their temperatures and test for COVID-19. \u003ccite>(Photo by Frederick Taylor and Yusef Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have something to prove,” Thorpe says. “We’re taking advantage of this time to ourselves to get ourselves on the up and up. So when everything opens up, we’re ready to perform. We’re ready to be out there. We’re ready to show our faces.” \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-atlanta/index.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: This episode was filmed under strict guidelines due to the coronavirus pandemic. A trained COVID-19 safety specialist was on-set and careful parameters were followed with the dancers, who are in a “quarantine pod” together, practicing recommended guidelines including regular testing, temperature checks, constant communication and group accountability. Atlanta is currently experiencing a surge in COVID-19 cases and we hope the community remains safe at home until it’s time to dance together again.\u003c/em>\u003c/p>\n\u003cp>\u003cem>KQED Arts’ award-winning video series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is back for a third season! In each episode, meet dancers across the country representing their city’s signature moves. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ICCD_307_Atlanta_ContentDescription.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download Content Description.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>If there’s one comfort the 11 members of Dance Champz of Atlanta have found during the coronavirus pandemic, it’s that they can still dance together. “The pandemic has affected the LGBTQ community and the J-Setting community tremendously because we’re kind of left in limbo,” team founder and captain \u003ca href=\"https://www.instagram.com/live_w_lee/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Leland Thorpe\u003c/a> says. “So when COVID came about, we decided we were going to form a quarantine pod.”\u003c/p>\n\u003cp>“We all love to dance and we all wanted to survive this,” he explains.\u003c/p>\n\u003cp>This practical adaptation in the midst of a global health crisis is emblematic of the group’s approach to J-Setting. “My team is very hard core,” Thorpe says. When they compete on the dance floor with their sharp, synchronized movements set to the beats of Baltimore club-style music, the battles are intense.\u003c/p>\n\u003cfigure id=\"attachment_13885968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/DanceChampz.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13885968 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/DanceChampz-800x450.jpg\" alt='Three Black dancers who are members of Dance Champz of Atlanta pose in matching black velvet outfits in front a mosaic art piece title \"The Fiddler\" that sits on a wall behing them.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DanceChampz.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Darrius Stephens, Leland Thorpe and Ter’Schard Harris of Dance Champs of Atlanta pose in front of Steve Seaberg’s mosaic titled “The Fiddler” in Cabbagetown neighborhood in Atlanta, GA. During the pandemic, the members of Dance Champz of Atlanta formed a pod. The members regularly check their temperatures and test for COVID-19. \u003ccite>(Photo by Frederick Taylor and Yusef Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We put in a lot of work,” team member \u003ca href=\"http://voyageatl.com/interview/meet-darrius-stephens-dance-champz-atlanta-college-park/\" target=\"_blank\" rel=\"noopener noreferrer\">Darrius Stephens\u003c/a> confirms. The Dance Champz rehearse four days a week, sometimes up to four or five hours a day. When a performance is coming up, Stephens says, “We rehearse almost every day up into that performance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part of their intensity comes from a desire to share their take on J-Setting—one influenced by jazz, modern dance, hip-hop and ballet—with ever-wider audiences. From its very start, J-Setting was a dance born out of resistance to the status quo, and a need for modern flair. Dance Champz are simply carrying that spirit out into the streets of Atlanta.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/1jPRmzJQ2247lWRXoWl8q6\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The story of J-Setting starts on the campus of Jackson State University in 1970. Shirley Middleton, a former majorette with JSU’s marching band (now known as \u003ca href=\"http://www.sonicboomofthesouth.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the Sonic Boom of the South\u003c/a>) met with the university president and requested the majorettes be permitted to “put down their batons” and start dancing to more contemporary music. (At the time, that meant James Brown’s “Make it Funky” and “Hot Pants.”) Middleton established the Prancing Jaycettes, who later became the Prancing J-Settes, and the danceline thrives to this day, known for their marching steps, explosive moves and tightly executed routines. Their signature style has even entered mainstream choreography, most notably \u003ca href=\"https://youtu.be/4m1EFMoRFvY\" target=\"_blank\" rel=\"noopener noreferrer\">Beyoncé’s “Single Ladies”\u003c/a> music video.\u003c/p>\n\u003cfigure id=\"attachment_13885960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/3P8A9445.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885960\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/3P8A9445-800x533.jpg\" alt=\"The Prancing J-Settes, the majorettes of the Jackson State University, pose in matching silver bodysuits on a football field.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/3P8A9445-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Prancing J-Settes is the official name of the Jackson State University majorettes, who dance alongside the Jackson State University marching band, the Sonic Boom of the South. \u003ccite>(Courtesy of Deontae Williams/University Communications)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time it was filling stadiums, J-Setting was going underground. “Wherever there was a marching band,” Thorpe explains, “there were gay men who wanted to do this—not just their moves but their costumes.” J-Setting became a fixture in the LGBTQ+ clubs that surrounded the HBCUs where J-Setting was performed; routines seen at football games would get repeated on the dance floor that same weekend. The “Super Bowl” of the underground J-Setting scene was in competitions at Atlanta’s now-closed \u003ca href=\"https://thegavoice.com/news/atlanta/catching-phillip-boone-owner-founder-traxx/\" target=\"_blank\" rel=\"noopener noreferrer\">Traxx Nightclub\u003c/a>, Thorpe remembers.\u003c/p>\n\u003cfigure id=\"attachment_13885966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/O9T5466.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885966\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/O9T5466-800x1200.jpg\" alt=\"A close-up of a Prancing J-Settes dancer posing in a silver bodysuit with a fringe, nude fishnet stcokings and silver sequin cuffs on her wrists.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/O9T5466.jpg 1600w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A member of the Prancing J-Settes. \u003ccite>(Courtesy of Charles A. Smith/University Communications)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dance style requires militaristic precision, but it’s also about joy—about knowing oneself and expressing that self-knowledge through dance. (And shiny, sparkly, modified majorette outfits.) Another freeing element of J-Setting comes from its ability to brush away gender binaries with one buck of the body. “Being able to go in and out of femininity and masculinity” is one of the key elements, Stephens says. And for Stephens personally, the dance allows him to defy outside expectations about what his own body can and can’t do.\u003c/p>\n\u003cp>J-Setting is still emerging as an art form, and Thorpe wants to push its boundaries to incorporate other dance styles he grew up performing on the sly in Detroit. He’s interested in challenging some of the relatively new conventions of the male J-Setting scene, both in terms of team size and its membership (Dance Champz has two female dancers in its lineup). Beyond the J-Setting community, the team also hopes for wider acceptance of LGBTQ+ people within the Black community. While Dance Champz have participated in recent Black Lives Matter marches and rallies, Thorpe says he still feels the ostracization that characterized the early days of the underground scene. “I’m considered gay before I’m Black,” Thorpe says. “We don’t always feel part of our Black community.”\u003c/p>\n\u003cp>All their hard work is paying off in terms of local recognition. Dance Champz are the only J-Sette team that performs as part of Atlanta’s Pride celebrations. Maintaining their training regimen during the pandemic, Dance Champz are working towards the day when they can gather once again, to share their skills with both fellow J-Setters and the city of Atlanta. More conservative than many in the name of COVID-19 safety, they’re skipping the club scene for now, forgoing the J-Sette battles at Pride over Labor day weekend, and mainly practicing outdoors.\u003c/p>\n\u003cfigure id=\"attachment_13885986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-800x422.jpg\" alt='Members of Dance Champz of Atlanta pose in red customized jerseys that read \"Champz Atlanta\". They are wearing fabric masks that cover the lower half of their faces. This photo is taken at sunset in Piedmont Park in Atlanta, GA.' width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-2048x1080.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ATL-Stills.00_04_23_13.Still003-2-1920x1013.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">During the pandemic, the members of Dance Champz of Atlanta formed a pod. The members regularly check their temperatures and test for COVID-19. \u003ccite>(Photo by Frederick Taylor and Yusef Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have something to prove,” Thorpe says. “We’re taking advantage of this time to ourselves to get ourselves on the up and up. So when everything opens up, we’re ready to perform. We’re ready to be out there. We’re ready to show our faces.” \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Drag Performers Champion Anti-Racism, Disability Justice at Oaklash",
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"content": "\u003cp>For drag performers, the pandemic has brought canceled gigs, shuttered bars and financial hardships—but also an important pause to imagine a more sustainable and inclusive way forward for queer nightlife once we’re able to gather again.\u003c/p>\n\u003cp>That’s the mindset of the producers of \u003ca href=\"https://www.oaklash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oaklash\u003c/a>, the drag festival that spotlights performers of different genders, generations, cultures and styles—glitzy, campy and avant-garde alike. If this were a normal year, hundreds of fans would have packed the backyard of Classic Cars West to see Peaches Christ’s macabre antics, \u003cem>RuPaul’s Drag Race Thailand\u003c/em> champion Angele Anang and the playful, provocative \u003ca href=\"https://www.kqed.org/arts/13835533/nicki-jizzs-daring-drag-puts-performers-of-color-in-the-spotlight\" target=\"_blank\" rel=\"noopener noreferrer\">Nicki Jizz\u003c/a>. Instead, the festival will take place as a digital drag extravaganza on \u003ca href=\"http://www.twitch.tv/oaklash2020\" target=\"_blank\" rel=\"noopener noreferrer\">Twitch\u003c/a> during Oakland Pride weekend, Sept. 4–6.\u003c/p>\n\u003cp>“Part of the sensibility of the Bay Area is that diversity, and we hope we can build more stages for that,” says \u003ca href=\"https://www.instagram.com/mamacelestefanclub/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mama Celeste\u003c/a>, who co-founded Oaklash with fellow drag performer Beatrix LaHaine in 2018. The duo has spent weeks putting together a lineup that unites performers from popular online drag shows such as Digital Drag, hosted by Biqtch Puddin, and The Stud’s Drag Alive. At Oaklash, some of the segments will be self-produced by the artists at home, and others will be shot at San Francisco club Oasis, with a multi-camera set-up and special effects. [aside postid='arts_13883181']\u003c/p>\n\u003cp>With Oaklash coming to fans’ living rooms, there’s a new opportunity to have intimate conversations that would have been difficult in a packed club. Saturday includes a slate of panels about disability justice, anti-racism and the future of drag after COVID-19. These conversations are already happening among drag performers and show producers; now, they have the chance to call in their audiences and rally them to action.\u003c/p>\n\u003cp>The Black Lives Matter movement has inspired many realms of the arts to take stock of their complicity in racism, and the queer nightlife community is no exception. In late July, drag performers \u003ca href=\"https://www.instagram.com/militiasf\" target=\"_blank\" rel=\"noopener noreferrer\">Militia\u003c/a> and \u003ca href=\"https://www.instagram.com/afrikaamerica/\" target=\"_blank\" rel=\"noopener noreferrer\">Afrika America\u003c/a>, who are both part of Saturday’s Oaklash anti-racism panel along with \u003ca href=\"https://www.instagram.com/tyislucystoole/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lucy Stoole\u003c/a>, participated in a town hall about racism and safety in LGBTQ+ nightlife after a survey from the \u003ca href=\"https://www.facebook.com/baqncoalition/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Queer Nightlife Coalition\u003c/a> revealed histories of racism and transphobia at \u003ca href=\"https://www.ebar.com/news/news//295593\" target=\"_blank\" rel=\"noopener noreferrer\">several of San Francisco’s most popular gay bars\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13885725\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885725\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/FullSizeRender-800x795.jpeg\" alt=\"A drag performer wearing lace, faux fur and a garter belt collects a tip from a fan.\" width=\"800\" height=\"795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/FullSizeRender-800x795.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/FullSizeRender-160x159.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/FullSizeRender-768x763.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/FullSizeRender.jpeg 824w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drag performer Militia of the Queer Nightlife Coalition will be part of an anti-racism panel at Oaklash on Sept. 5. \u003ccite>(Courtesy of Militia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similar town halls about race and equity in queer nightlife have taken place in Chicago and Philadelphia, and Oaklash presents an opportunity to continue the conversation. “All of us have really been talking about the same things: it’s tokenization and equitable treatment,” says Militia, describing a culture of booking one Black drag queen per show to “fill a quota,” unequal pay and lack of promotion for Black performers.\u003c/p>\n\u003cp>“For me, the bar owners who have the most issues—I don’t know that they’re actually doing the work right now besides waiting for it to blow over,” she says. “Which is fine, because the community is now watching them as well.”\u003c/p>\n\u003cp>San Francisco’s gay bar scene has a decades-long history of catering to cis, white men, and excluding people of color, gender non-conforming people and women (or those who fall into all three categories). In the 1970s, the Castro was known as the land of mustaches, pale skin and biceps, and, while that image has shifted, discrimination continues. Part of the challenge of addressing it is denial, Militia says. In her experience, white bar owners and party-goers often shut down conversations about racism before they begin because they go into defensive mode, afraid of being called a racist. She hopes Saturday’s panel can encourage more openness.\u003c/p>\n\u003cp>“Everybody has levels of racism within them, everybody has levels of xenophobia within them. It is up to you to continue to do the work,” she says. “I think it would help if people realize that being anti-racist isn’t something you achieve and then you’re done. … Especially when we’re just starting the conversation.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another Oaklash panel invites the queer and trans community to “Spill the Disabili-tea” on accessibility for people with disabilities. Led by advocate Alex Locust, who sometimes goes by \u003ca href=\"https://www.glamputee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Glamputee\u003c/a>, the panel invites BIPOC drag performers and nightlife professionals with disabilities to discuss what Locust describes as a joyful vision of true inclusivity—one that takes access to physical spaces, vision and hearing accommodations and mental health into account. (The speaker lineup includes George Kaplan, Mizi Samuels-Waithe, Gabe Taylor, Robin Wilson-Beatti and Lola Ursula, and there will be closed captioning for the Oaklash panels on Twitch.)\u003c/p>\n\u003cfigure id=\"attachment_13885724\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885724\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/alex-locust-pride-800x600.jpg\" alt=\"Four smiling friends pose at a Pride celebration.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Locust (far right) leads workshops on accessibility and will host the “Spill the Disabili-TEA” panel at Oaklash on Sept. 5 on Twitch. \u003ccite>(Courtesy of Alex Locust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Accessibility practices for disabled folks within the queer community are attended to sporadically,” says Locust. People with disabilities often have to do prep work to make sure that bars and clubs they want to visit are accessible—which takes the fun and spontaneity out of going out. But deeper than that, it alienates them from the places where LGBTQ+ people build community.\u003c/p>\n\u003cp>[aside postid='arts_13884392']“What is the emotional and mental toll of advocating that spaces are available to you?” Locust wonders. “If this is your community, to feel like you have to fight or champion just so you can get in the door, or just to feel that you are welcome in that space and your body and your mind were thought of, rather than feeling like a burden.”\u003c/p>\n\u003cp>At this stage of the pandemic, digital event producers are grappling with how to hold audiences’ attention as streaming fatigue sets in and unofficial gatherings crop up outdoors. But at Oaklash, there’s clearly momentum around the creative possibilities and opportunities for discussion the new medium has brought.\u003c/p>\n\u003cp>“I’m super excited to see how it translates to the festival, and I’m super excited to see how it translates to drag post-COVID, post-quarantine,” says Militia. “I don’t think drag is ever really gonna be the same.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Oaklash\u003c/i> is streaming on Twitch Sept. 4–6. \u003ca href=\"https://www.oaklash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For drag performers, the pandemic has brought canceled gigs, shuttered bars and financial hardships—but also an important pause to imagine a more sustainable and inclusive way forward for queer nightlife once we’re able to gather again.\u003c/p>\n\u003cp>That’s the mindset of the producers of \u003ca href=\"https://www.oaklash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oaklash\u003c/a>, the drag festival that spotlights performers of different genders, generations, cultures and styles—glitzy, campy and avant-garde alike. If this were a normal year, hundreds of fans would have packed the backyard of Classic Cars West to see Peaches Christ’s macabre antics, \u003cem>RuPaul’s Drag Race Thailand\u003c/em> champion Angele Anang and the playful, provocative \u003ca href=\"https://www.kqed.org/arts/13835533/nicki-jizzs-daring-drag-puts-performers-of-color-in-the-spotlight\" target=\"_blank\" rel=\"noopener noreferrer\">Nicki Jizz\u003c/a>. Instead, the festival will take place as a digital drag extravaganza on \u003ca href=\"http://www.twitch.tv/oaklash2020\" target=\"_blank\" rel=\"noopener noreferrer\">Twitch\u003c/a> during Oakland Pride weekend, Sept. 4–6.\u003c/p>\n\u003cp>“Part of the sensibility of the Bay Area is that diversity, and we hope we can build more stages for that,” says \u003ca href=\"https://www.instagram.com/mamacelestefanclub/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mama Celeste\u003c/a>, who co-founded Oaklash with fellow drag performer Beatrix LaHaine in 2018. The duo has spent weeks putting together a lineup that unites performers from popular online drag shows such as Digital Drag, hosted by Biqtch Puddin, and The Stud’s Drag Alive. At Oaklash, some of the segments will be self-produced by the artists at home, and others will be shot at San Francisco club Oasis, with a multi-camera set-up and special effects. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With Oaklash coming to fans’ living rooms, there’s a new opportunity to have intimate conversations that would have been difficult in a packed club. Saturday includes a slate of panels about disability justice, anti-racism and the future of drag after COVID-19. These conversations are already happening among drag performers and show producers; now, they have the chance to call in their audiences and rally them to action.\u003c/p>\n\u003cp>The Black Lives Matter movement has inspired many realms of the arts to take stock of their complicity in racism, and the queer nightlife community is no exception. In late July, drag performers \u003ca href=\"https://www.instagram.com/militiasf\" target=\"_blank\" rel=\"noopener noreferrer\">Militia\u003c/a> and \u003ca href=\"https://www.instagram.com/afrikaamerica/\" target=\"_blank\" rel=\"noopener noreferrer\">Afrika America\u003c/a>, who are both part of Saturday’s Oaklash anti-racism panel along with \u003ca href=\"https://www.instagram.com/tyislucystoole/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lucy Stoole\u003c/a>, participated in a town hall about racism and safety in LGBTQ+ nightlife after a survey from the \u003ca href=\"https://www.facebook.com/baqncoalition/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Queer Nightlife Coalition\u003c/a> revealed histories of racism and transphobia at \u003ca href=\"https://www.ebar.com/news/news//295593\" target=\"_blank\" rel=\"noopener noreferrer\">several of San Francisco’s most popular gay bars\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13885725\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885725\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/FullSizeRender-800x795.jpeg\" alt=\"A drag performer wearing lace, faux fur and a garter belt collects a tip from a fan.\" width=\"800\" height=\"795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/FullSizeRender-800x795.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/FullSizeRender-160x159.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/FullSizeRender-768x763.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/FullSizeRender.jpeg 824w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drag performer Militia of the Queer Nightlife Coalition will be part of an anti-racism panel at Oaklash on Sept. 5. \u003ccite>(Courtesy of Militia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similar town halls about race and equity in queer nightlife have taken place in Chicago and Philadelphia, and Oaklash presents an opportunity to continue the conversation. “All of us have really been talking about the same things: it’s tokenization and equitable treatment,” says Militia, describing a culture of booking one Black drag queen per show to “fill a quota,” unequal pay and lack of promotion for Black performers.\u003c/p>\n\u003cp>“For me, the bar owners who have the most issues—I don’t know that they’re actually doing the work right now besides waiting for it to blow over,” she says. “Which is fine, because the community is now watching them as well.”\u003c/p>\n\u003cp>San Francisco’s gay bar scene has a decades-long history of catering to cis, white men, and excluding people of color, gender non-conforming people and women (or those who fall into all three categories). In the 1970s, the Castro was known as the land of mustaches, pale skin and biceps, and, while that image has shifted, discrimination continues. Part of the challenge of addressing it is denial, Militia says. In her experience, white bar owners and party-goers often shut down conversations about racism before they begin because they go into defensive mode, afraid of being called a racist. She hopes Saturday’s panel can encourage more openness.\u003c/p>\n\u003cp>“Everybody has levels of racism within them, everybody has levels of xenophobia within them. It is up to you to continue to do the work,” she says. “I think it would help if people realize that being anti-racist isn’t something you achieve and then you’re done. … Especially when we’re just starting the conversation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another Oaklash panel invites the queer and trans community to “Spill the Disabili-tea” on accessibility for people with disabilities. Led by advocate Alex Locust, who sometimes goes by \u003ca href=\"https://www.glamputee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Glamputee\u003c/a>, the panel invites BIPOC drag performers and nightlife professionals with disabilities to discuss what Locust describes as a joyful vision of true inclusivity—one that takes access to physical spaces, vision and hearing accommodations and mental health into account. (The speaker lineup includes George Kaplan, Mizi Samuels-Waithe, Gabe Taylor, Robin Wilson-Beatti and Lola Ursula, and there will be closed captioning for the Oaklash panels on Twitch.)\u003c/p>\n\u003cfigure id=\"attachment_13885724\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885724\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/alex-locust-pride-800x600.jpg\" alt=\"Four smiling friends pose at a Pride celebration.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/alex-locust-pride.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Locust (far right) leads workshops on accessibility and will host the “Spill the Disabili-TEA” panel at Oaklash on Sept. 5 on Twitch. \u003ccite>(Courtesy of Alex Locust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Accessibility practices for disabled folks within the queer community are attended to sporadically,” says Locust. People with disabilities often have to do prep work to make sure that bars and clubs they want to visit are accessible—which takes the fun and spontaneity out of going out. But deeper than that, it alienates them from the places where LGBTQ+ people build community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“What is the emotional and mental toll of advocating that spaces are available to you?” Locust wonders. “If this is your community, to feel like you have to fight or champion just so you can get in the door, or just to feel that you are welcome in that space and your body and your mind were thought of, rather than feeling like a burden.”\u003c/p>\n\u003cp>At this stage of the pandemic, digital event producers are grappling with how to hold audiences’ attention as streaming fatigue sets in and unofficial gatherings crop up outdoors. But at Oaklash, there’s clearly momentum around the creative possibilities and opportunities for discussion the new medium has brought.\u003c/p>\n\u003cp>“I’m super excited to see how it translates to the festival, and I’m super excited to see how it translates to drag post-COVID, post-quarantine,” says Militia. “I don’t think drag is ever really gonna be the same.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Oaklash\u003c/i> is streaming on Twitch Sept. 4–6. \u003ca href=\"https://www.oaklash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The sex lives of people in Morocco are shaped by cultural forces—and also the penal code. Sex outside marriage is illegal, and so is abortion in almost all cases. Adultery is punishable by prison time. And as for violating Morocco’s cultural laws—those punishments fall mostly on women.\u003c/p>\n\u003cp>The French-Moroccan writer Leila Slimani explores the places where desire, intimacy and the patriarchy collide in her new book, S\u003cem>ex and Lies: True Stories of Women’s Intimate Lives in the Arab World\u003c/em>.\u003c/p>\n\u003cp>As a girl and then a teenager, Slimani says, “I always heard people speaking about girls as dangerous. The fact that you can be raped, that you can be attacked. And also that being a woman was being a temptress. So I’ve always had this idea that I had something in me that was dirty, that was not pure, and everyone was talking about the good girls. You know, this ideal of the good girl who is pure, who is, of course, a virgin, who is going to sacrifice herself for other people. And I could feel, even as a very young girl, that I was not this kind of girl. So I couldn’t feel pure, and I felt that I was going to disappoint my whole society.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Morocco’s unofficial motto for sex: Do what you wish, but never talk about it.\u003c/strong>\u003c/p>\n\u003cp>It means that the big problem now in Morocco is that the penal code lays down imprisonment of up to a year for anyone engaging [in] sex before marriage. Two years for adultery and three years if you are homosexual. Abortion is illegal. But, of course, as you can imagine, everyone is having sex in Morocco like everywhere else. But if you’re in the wrong place at the wrong time, you can always be arrested, or you will have to give some money to a policeman or to someone if you don’t want to have a problem. So everyone is telling you, okay, do whatever you want, but lie all the time. And especially women—for a woman, it’s very difficult to live openly and to speak with honesty of your sexual life. People want you to be a hypocrite and a liar and to hide yourself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>On one woman, Nour, featured in the book\u003c/strong>\u003c/p>\n\u003cp>She was a very shy woman, very, very sweet. And I asked her if she wanted to share things with me when it comes to sexuality. And I asked her very intimate questions, and at the beginning, because she was shy, I was afraid she was going to reject me. But she said, ‘Yes, I have something to tell you.’ And at the beginning of the conversation, I understood that something very violent and something terrible happened to her. So what is very sad with this testimony is that at the end, I’m not sure that this woman is going to be a free woman. I’m not sure she’s going to choose this path, the path of freedom, because she understands very much that it’s going to cost her a lot. And it’s what is tragic now in Morocco is that I meet a lot of [women] who say to me, ‘Yeah, I would love to be free, but I’m not sure it’s worth it. I’m going to lose so much being a free woman that maybe I prefer to be alienated and to do what society wants me to do, because I’m too afraid to be free.’\u003c/p>\n\u003cp>\u003cstrong>On the connection between sexual repression and sexual violence\u003c/strong>\u003c/p>\n\u003cp>You know, the problem is that there is no gray zone between the whore and a virgin. You’re a whore or a virgin. You can’t be something else. So, of course, the way people look at you when you are a free woman, or when you act free, or when you—for instance, you speak out, you give your opinion, the way you can behave in the street. And men will see you. And in a certain way, I think he wants to punish you. He wants to punish you for this freedom, because this freedom is defying him, is defying his power.\u003c/p>\n\u003cp>\u003cstrong>On the audience she hopes to reach\u003c/strong>\u003c/p>\n\u003cp>I have women friends, women who are Jews, for instance, and who lived in a very Orthodox family—she said it’s exactly the same in every religion: Woman is depicted, is described as a provocateur, as a temptress. It’s the figure of Eve who is eating the apple, and everything is a mess after that. So I want to speak to everyone. And, you know, to use a very famous quote now, I would say that what I want to say to Moroccan society is that women’s lives matter, even if those women are just simple women. And no one is seeing them. No one is having any consideration for them. And when they speak about sex, people are just going to judge and to say you’re a whore and we don’t want to hear you. And I want to tell them, no, that’s not true. These women matter. And we have to listen to them.\u003c/p>\n\u003cp>\u003cstrong>On why women are singled out for sexual censure\u003c/strong>\u003c/p>\n\u003cp>That’s still a mystery for me. And I’m not sure that I really have the answer to this question. But I think that we have this idea that men need sex. For men, it’s a need, like he needs to eat, he needs to drink and he needs to have sex. So there is no judgment of that—it’s not a moral problem. He just needs that. For women, it’s very different. I think that’s the way our cultures, and especially the monotheist religions, look at the woman’s desire—it’s very mysterious. We don’t really understand what provokes it.\u003c/p>\n\u003cp>\u003cstrong>On the criticism that demanding sexual liberation in Morocco is imposing Western values\u003c/strong>\u003c/p>\n\u003cp>You know, I believe in universality, and I think that a desire to be free is not something that belongs to Western world. We all want to be free. I want to be free. And I was not born in France or in a Western country. I was born and raised in Morocco. And I can understand freedom, equality, justice. And anyone from China to Peru and Morocco can ask for that—for justice, for freedom, for equality. And I think that it’s a misunderstanding—it’s a complete misunderstanding of what I am trying to do.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Noah Caldwell and Jolie Myers and was adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Sex+And+Lies%27+Author+Leila+Slimani%3A+%27Women%27s+Lives+Matter%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sex lives of people in Morocco are shaped by cultural forces—and also the penal code. Sex outside marriage is illegal, and so is abortion in almost all cases. Adultery is punishable by prison time. And as for violating Morocco’s cultural laws—those punishments fall mostly on women.\u003c/p>\n\u003cp>The French-Moroccan writer Leila Slimani explores the places where desire, intimacy and the patriarchy collide in her new book, S\u003cem>ex and Lies: True Stories of Women’s Intimate Lives in the Arab World\u003c/em>.\u003c/p>\n\u003cp>As a girl and then a teenager, Slimani says, “I always heard people speaking about girls as dangerous. The fact that you can be raped, that you can be attacked. And also that being a woman was being a temptress. So I’ve always had this idea that I had something in me that was dirty, that was not pure, and everyone was talking about the good girls. You know, this ideal of the good girl who is pure, who is, of course, a virgin, who is going to sacrifice herself for other people. And I could feel, even as a very young girl, that I was not this kind of girl. So I couldn’t feel pure, and I felt that I was going to disappoint my whole society.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Morocco’s unofficial motto for sex: Do what you wish, but never talk about it.\u003c/strong>\u003c/p>\n\u003cp>It means that the big problem now in Morocco is that the penal code lays down imprisonment of up to a year for anyone engaging [in] sex before marriage. Two years for adultery and three years if you are homosexual. Abortion is illegal. But, of course, as you can imagine, everyone is having sex in Morocco like everywhere else. But if you’re in the wrong place at the wrong time, you can always be arrested, or you will have to give some money to a policeman or to someone if you don’t want to have a problem. So everyone is telling you, okay, do whatever you want, but lie all the time. And especially women—for a woman, it’s very difficult to live openly and to speak with honesty of your sexual life. People want you to be a hypocrite and a liar and to hide yourself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>On one woman, Nour, featured in the book\u003c/strong>\u003c/p>\n\u003cp>She was a very shy woman, very, very sweet. And I asked her if she wanted to share things with me when it comes to sexuality. And I asked her very intimate questions, and at the beginning, because she was shy, I was afraid she was going to reject me. But she said, ‘Yes, I have something to tell you.’ And at the beginning of the conversation, I understood that something very violent and something terrible happened to her. So what is very sad with this testimony is that at the end, I’m not sure that this woman is going to be a free woman. I’m not sure she’s going to choose this path, the path of freedom, because she understands very much that it’s going to cost her a lot. And it’s what is tragic now in Morocco is that I meet a lot of [women] who say to me, ‘Yeah, I would love to be free, but I’m not sure it’s worth it. I’m going to lose so much being a free woman that maybe I prefer to be alienated and to do what society wants me to do, because I’m too afraid to be free.’\u003c/p>\n\u003cp>\u003cstrong>On the connection between sexual repression and sexual violence\u003c/strong>\u003c/p>\n\u003cp>You know, the problem is that there is no gray zone between the whore and a virgin. You’re a whore or a virgin. You can’t be something else. So, of course, the way people look at you when you are a free woman, or when you act free, or when you—for instance, you speak out, you give your opinion, the way you can behave in the street. And men will see you. And in a certain way, I think he wants to punish you. He wants to punish you for this freedom, because this freedom is defying him, is defying his power.\u003c/p>\n\u003cp>\u003cstrong>On the audience she hopes to reach\u003c/strong>\u003c/p>\n\u003cp>I have women friends, women who are Jews, for instance, and who lived in a very Orthodox family—she said it’s exactly the same in every religion: Woman is depicted, is described as a provocateur, as a temptress. It’s the figure of Eve who is eating the apple, and everything is a mess after that. So I want to speak to everyone. And, you know, to use a very famous quote now, I would say that what I want to say to Moroccan society is that women’s lives matter, even if those women are just simple women. And no one is seeing them. No one is having any consideration for them. And when they speak about sex, people are just going to judge and to say you’re a whore and we don’t want to hear you. And I want to tell them, no, that’s not true. These women matter. And we have to listen to them.\u003c/p>\n\u003cp>\u003cstrong>On why women are singled out for sexual censure\u003c/strong>\u003c/p>\n\u003cp>That’s still a mystery for me. And I’m not sure that I really have the answer to this question. But I think that we have this idea that men need sex. For men, it’s a need, like he needs to eat, he needs to drink and he needs to have sex. So there is no judgment of that—it’s not a moral problem. He just needs that. For women, it’s very different. I think that’s the way our cultures, and especially the monotheist religions, look at the woman’s desire—it’s very mysterious. We don’t really understand what provokes it.\u003c/p>\n\u003cp>\u003cstrong>On the criticism that demanding sexual liberation in Morocco is imposing Western values\u003c/strong>\u003c/p>\n\u003cp>You know, I believe in universality, and I think that a desire to be free is not something that belongs to Western world. We all want to be free. I want to be free. And I was not born in France or in a Western country. I was born and raised in Morocco. And I can understand freedom, equality, justice. And anyone from China to Peru and Morocco can ask for that—for justice, for freedom, for equality. And I think that it’s a misunderstanding—it’s a complete misunderstanding of what I am trying to do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Pride month might be over, but we should really be learning about queer and trans visionaries year-round. The GLBT Historical Society in San Francisco is a treasure trove of information in this regard, and since we can’t currently browse their archives in person, they’re hosting regular events online.\u003c/p>\n\u003cp>One of those is a panel called \u003ca href=\"https://www.facebook.com/events/270204734064482/\" target=\"_blank\" rel=\"noopener noreferrer\">The Evolution of Black LGBTQ Leadership\u003c/a>. It highlights how the movement for Black lives and the gay liberation movement have historically been intertwined. For instance, Marsha P. Johnson and Miss Major Griffin Gracy, two trans women who rioted against police brutality at Stonewall in 1969, spent their lives fighting for Black trans women and sex workers.\u003c/p>\n\u003cp>Here’s Miss Major in a 2015 interview with the Trans Oral History Project.\u003c/p>\n\u003cp>https://youtu.be/O8gKdAOQyyI\u003c/p>\n\u003cp>The work of Miss Major, Marsha P. Johnson, author James Baldwin, civil rights activist Bayard Rustin and countless others continues to influence today’s movements for equality. The Evolution of Black LGBTQ Leadership offers a chance to learn about these legacies, and speakers include activists, artists, educators and policy strategists Kylar W. Broadus, Krü Maekdu, Preston Mitchum, Crystal Mason, Imani Rupert-Gordon and moderator Bryce J. Celotto. The event takes place on July 22 at 6pm. \u003ca href=\"https://www.facebook.com/events/270204734064482/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pride month might be over, but we should really be learning about queer and trans visionaries year-round. The GLBT Historical Society in San Francisco is a treasure trove of information in this regard, and since we can’t currently browse their archives in person, they’re hosting regular events online.\u003c/p>\n\u003cp>One of those is a panel called \u003ca href=\"https://www.facebook.com/events/270204734064482/\" target=\"_blank\" rel=\"noopener noreferrer\">The Evolution of Black LGBTQ Leadership\u003c/a>. It highlights how the movement for Black lives and the gay liberation movement have historically been intertwined. For instance, Marsha P. Johnson and Miss Major Griffin Gracy, two trans women who rioted against police brutality at Stonewall in 1969, spent their lives fighting for Black trans women and sex workers.\u003c/p>\n\u003cp>Here’s Miss Major in a 2015 interview with the Trans Oral History Project.\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/O8gKdAOQyyI'\n title='//www.youtube.com/embed/O8gKdAOQyyI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The work of Miss Major, Marsha P. Johnson, author James Baldwin, civil rights activist Bayard Rustin and countless others continues to influence today’s movements for equality. The Evolution of Black LGBTQ Leadership offers a chance to learn about these legacies, and speakers include activists, artists, educators and policy strategists Kylar W. Broadus, Krü Maekdu, Preston Mitchum, Crystal Mason, Imani Rupert-Gordon and moderator Bryce J. Celotto. The event takes place on July 22 at 6pm. \u003ca href=\"https://www.facebook.com/events/270204734064482/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Welcome to Chechnya\u003c/em> is a grimly ironic title for a documentary that plays like a chilling undercover thriller. The camerawork is rough and ragged; the sense of menace is palpable.\u003c/p>\n\u003cp>The movie opens on a dark street in the southern Russian republic of Chechnya, where a man smokes a cigarette and arranges secret meetings and transports by phone. This is David Isteev, a crisis intervention coordinator for the \u003ca href=\"https://www.lgbtnet.org/en\" target=\"_blank\" rel=\"noopener noreferrer\">Russian LGBT Network\u003c/a>, and he spends his days helping gay and transgender Chechens flee a place where they are no longer safe.\u003c/p>\n\u003cp>Homosexuality and gender nonconformity have long been frowned upon in Chechen society. But things got much worse in early 2017, when the leader of the republic, \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/28/464552123/chechnyas-strongman-praises-putin-threatens-traitors\" target=\"_blank\" rel=\"noopener noreferrer\">Ramzan Kadyrov\u003c/a>, a strongman with close ties to Russian President Vladimir Putin, began a violent purge of anyone suspected of being gay or transgender.\u003c/p>\n\u003cp>It began with a drug raid when police arrested a young man and found sexually explicit images of men on his phone. He was tortured and forced to name those men, who were then also arrested, tortured and forced to name others, setting off a horrific chain reaction. Some of the men were released—with the expectation that their own relatives would kill them, since the stigma of homosexuality runs deep in this ultra-conservative, primarily Muslim society.\u003c/p>\n\u003cp>The journalist and filmmaker \u003ca href=\"https://www.npr.org/2020/06/28/884458992/interview-with-the-director-of-welcome-to-chechnya\" target=\"_blank\" rel=\"noopener noreferrer\">David France\u003c/a> was first alerted to this crisis by Masha Gessen’s \u003ca href=\"https://www.newyorker.com/magazine/2017/07/03/the-gay-men-who-fled-chechnyas-purge\" target=\"_blank\" rel=\"noopener noreferrer\">2017 \u003cem>New Yorker\u003c/em> article\u003c/a> and decided to make it the subject of his next film. He embedded himself with Isteev and another activist, Olga Baranova, and began filming some of the young people who turned to them for help. For security reasons, these individuals are introduced with aliases, and their circumstances and whereabouts are left deliberately vague.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But as the movie tells us upfront, France took an extraordinary step to protect their identities further, using sophisticated facial-disguise technology. Many of the faces we see are actually the faces of people from outside Chechnya, who lent their likenesses to the film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_2KMm49B6pE\u003c/p>\n\u003cp>It’s a bold gambit that may put off those who find it too duplicitous in the context of a documentary. But I found it remarkably effective in the way it lets these young men and women tell their stories and express a level of emotion that would have been lost if they had been filmed with blurred faces or in heavy shadows. Giving them different faces also makes a kind of poetic sense: It’s a reminder that to be LGBTQ in a repressive society is to never feel comfortable in your own skin.\u003c/p>\n\u003cp>One of these digitally altered subjects is a 21-year-old lesbian introduced as “Anya,” whose uncle knows her sexual orientation and demands that she sleep with him or risk being outed to her father, a powerful Chechen official. Anya decides to escape, but that isn’t so easy with the authorities soon hot on her trail. The Russian LGBT Network moves her into an apartment where she must hole up for weeks on end, waiting for a travel visa that might never arrive.\u003c/p>\n\u003cp>Similarly harrowing, but also more hopeful, is the experience of a 30-year-old Russian businessman, here called “Grisha,” who was detained and beaten for 12 days during a trip to Chechnya. The Network helps him move to an undisclosed location in Europe with his boyfriend of 10 years. Fortunately, the brave Grisha has the support of his immediate family, who decide to move with him; as his mother notes in one poignant scene, her loyalty is to her family—not to an oppressive government.\u003c/p>\n\u003cp>\u003cem>Welcome to Chechnya\u003c/em> pays important tribute to the courage of its subjects, including activists like Isteev and Baranova, who risk their own persecution and exposure. The mere presence of France’s camera might endanger their lives and their work, but it’s also crucial to drawing international attention to the Chechen government’s abuses. We see some of those abuses in the movie’s most disturbing footage, much of it secretly filmed on cell phones and spliced into the film in brief jolts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In one video, an incarcerated man is sexually assaulted off-camera by police. In another, a woman is attacked by a relative who—it’s implied but not shown—proceeds to bludgeon her to death. These are ghastly images, and I’m not convinced the film needed all of them to convey the full horror of what’s going on. But there’s no doubting the depth of its fury and anguish on behalf of the victims and survivors we see—and the many, many more that we don’t.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Welcome+To+Chechnya%27+Chronicles+Abuses+Against+Its+LGBTQ+Citizens&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as the movie tells us upfront, France took an extraordinary step to protect their identities further, using sophisticated facial-disguise technology. Many of the faces we see are actually the faces of people from outside Chechnya, who lent their likenesses to the film.\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/_2KMm49B6pE'\n title='//www.youtube.com/embed/_2KMm49B6pE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a bold gambit that may put off those who find it too duplicitous in the context of a documentary. But I found it remarkably effective in the way it lets these young men and women tell their stories and express a level of emotion that would have been lost if they had been filmed with blurred faces or in heavy shadows. Giving them different faces also makes a kind of poetic sense: It’s a reminder that to be LGBTQ in a repressive society is to never feel comfortable in your own skin.\u003c/p>\n\u003cp>One of these digitally altered subjects is a 21-year-old lesbian introduced as “Anya,” whose uncle knows her sexual orientation and demands that she sleep with him or risk being outed to her father, a powerful Chechen official. Anya decides to escape, but that isn’t so easy with the authorities soon hot on her trail. The Russian LGBT Network moves her into an apartment where she must hole up for weeks on end, waiting for a travel visa that might never arrive.\u003c/p>\n\u003cp>Similarly harrowing, but also more hopeful, is the experience of a 30-year-old Russian businessman, here called “Grisha,” who was detained and beaten for 12 days during a trip to Chechnya. The Network helps him move to an undisclosed location in Europe with his boyfriend of 10 years. Fortunately, the brave Grisha has the support of his immediate family, who decide to move with him; as his mother notes in one poignant scene, her loyalty is to her family—not to an oppressive government.\u003c/p>\n\u003cp>\u003cem>Welcome to Chechnya\u003c/em> pays important tribute to the courage of its subjects, including activists like Isteev and Baranova, who risk their own persecution and exposure. The mere presence of France’s camera might endanger their lives and their work, but it’s also crucial to drawing international attention to the Chechen government’s abuses. We see some of those abuses in the movie’s most disturbing footage, much of it secretly filmed on cell phones and spliced into the film in brief jolts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In one video, an incarcerated man is sexually assaulted off-camera by police. In another, a woman is attacked by a relative who—it’s implied but not shown—proceeds to bludgeon her to death. These are ghastly images, and I’m not convinced the film needed all of them to convey the full horror of what’s going on. But there’s no doubting the depth of its fury and anguish on behalf of the victims and survivors we see—and the many, many more that we don’t.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Welcome+To+Chechnya%27+Chronicles+Abuses+Against+Its+LGBTQ+Citizens&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>fter coming out for the second time (first as a lesbian, then as bisexual) in the early ’80s, Lani Ka’ahumanu got together with the few out bi people in the San Francisco gay and lesbian community and started \u003ca href=\"https://www.lanikaahumanu.com/images/BiPOL%20statement%20of%20purpose_large.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">BiPOL\u003c/a>, the first advocacy organization of its kind in the United States.\u003c/p>\n\u003cp>The problem was, no one wanted to join—at least not publicly.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“We’d go out there speaking for the bisexual community and we’d come into our meetings going, ‘Oh my god, where are they?’ We were all confessionals, all of us, for people who were too afraid to come out as bisexual,” Ka’ahumanu, now 76 years old, says over the phone from her home in Sonoma County. “I had more lesbians come up to me, or call me on the phone and say, ‘You don’t know me, but someone gave me your number. I’ve been relating to a man for six months and I’m really scared to come out or else I’d lose my community’—which is what happened to me.” [aside postid='arts_13881934']\u003c/span>\u003c/p>\n\u003cp>Indeed, Ka’ahumanu understood their trepidation. In the 1970s, lesbians were fighting for visibility within the nascent gay rights movement, and identifying as one was often considered a political orientation—not just a sexual one. Early lesbian organizations encouraged bisexual women to pick a side, and many chose to hide the fact that they loved men as well as women in order to be accepted in this new community.\u003c/p>\n\u003cp>In response to the dominant culture’s homophobia, gay rights activists in the 1970s adopted a born-this-way, binary view of sexuality as a means of \u003ca href=\"https://www.buzzfeednews.com/article/michaelwaters/lgbt-rights-movement-sexual-fluidity-bisexuality-pride\" target=\"_blank\" rel=\"noopener noreferrer\">gaining legal protections\u003c/a> that hinged on defining sexual attraction as a biological, immutable characteristic. But that political ideology didn’t match many people’s lived experience of fluid sexual desire. After she left her husband and moved to San Francisco in the ’70s, Ka’ahumanu bought into the stereotype that bisexuality was just pitstop to coming out as gay or lesbian. Then, after years of dating women, things changed when she fell in love with a bisexual man, Bill Mack, who was traveling through a Mendocino County clothing-optional resort where Ka’ahumanu worked as a chef. In 1983, she and Mack started BiPOL along with \u003cspan class=\"s1\">Autumn Courtney, Arlene Krantz, David Loreau, Alan Rockway and Maggi Rubenstein.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The founders of BiPOL were frustrated with the fact that lesbian and gay organizations treated their identity as illegitimate, telling them that they had “straight privilege” and no place in the movement. Meanwhile, in the heterosexual world, the only time bisexuals ever came up in the mainstream media was when they were demonized. \u003cspan class=\"s1\">“Bisexual men became the \u003ca href=\"https://www.pbs.org/newshour/nation/typhoid-marys-life-sentence-quarantine\" target=\"_blank\" rel=\"noopener noreferrer\">Typhoid Marys\u003c/a>. … We were the ones that were ‘spreading AIDS,’” Ka’ahumanu recalls. “Yet we were told we didn’t exist.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen the Democratic National Committee announced that it would hold its convention in San Francisco in July 1984, two weeks after the Pride parade, the members of BiPOL knew they had an opportunity to do something to promote their cause—something big.\u003c/p>\n\u003cp>Rockway had political experience in Florida, where he helped write one of the United States’ first gay and lesbian non-discrimination ordinances. He hatched a plan: BiPOL would nominate one of its members for the office of vice president of the United States. Though presidential nominees chose their running mates in practice (it was already common knowledge that Walter Mondale had chosen Geraldine Ferraro in his race against Ronald Reagan), DNC rules stipulated that with enough delegate signatures, vice presidential hopefuls could still have the chance to address the DNC—and, more importantly, the American public—at the televised convention.\u003c/p>\n\u003cp>It was a golden opportunity for BiPOL to get bisexuality in the news—and to advocate for AIDS/HIV research and treatment at a time when the disease was ravaging the community. In a savvy move, Rockway decided that BiPOL’s nominee should be Ka’ahumanu: she had the perfect, media-friendly backstory as a former heterosexual housewife who gave up her cookie-cutter life and was now an out-and-proud queer mother. He knew the political press, hungry for kooky stories from San Francisco, would run with it.\u003c/p>\n\u003cp>BiPOL announced a press conference about Ka’ahumanu’s candidacy to local outlets—and, to the activists’ surprise, reporters with notepads arrived at the appointed time at the Moscone Center, asking her the questions they would of a serious candidate. Inspired by the political theater of the era—the Sisters of Perpetual Indulgence, San Francisco’s order of drag queen-activist nuns, had begun protesting in habits and wild makeup only a few years prior—the members of BiPOL showed up with airplane-sickness bags labeled “BARF,” with each letter symbolizing the name of a noted homophobe, including President Reagan, evangelical preacher Jerry Falwell and right-wing pop vocalist Anita Bryant, the citrus spokesperson who famously waged an anti-gay media campaign in the 1970s that resulted in a \u003ca href=\"https://www.washingtonpost.com/outlook/2019/06/21/myth-that-has-shaped-christian-right-lgbtq-rights-movement-four-decades/\" target=\"_blank\" rel=\"noopener noreferrer\">Florida orange juice boycott\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13882631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/lani-1984-800x605.jpg\" alt=\"\" width=\"800\" height=\"605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984-1020x772.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984-1536x1162.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lani Ka’ahumanu addressing constituents in 1984. \u003ccite>(Courtesy fo Lani Ka'ahumanu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The stunt confused the press, resulting in the headline “\u003cspan class=\"s1\">Terrified Woman Handing Out Air Sickness Bags Announces Candidacy,” as Ka’ahumanu remembers it, in the \u003cem>San Francisco Examiner\u003c/em>. \u003c/span>\u003c/p>\n\u003cp>Though the headline didn’t quite convey the purpose of the campaign, the article \u003cem>did\u003c/em> mention bisexual rights. That was a win. And as BiPOL ramped up its media antics in the days leading up the DNC, other media mentions followed.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“It was important visibility,” says Ka’ahumanu. “Even if it sounds completely silly, at the time there was nothing about bisexuality except the negative piece that we’re spreading HIV/AIDS. If we’re out there talking about more funding for AIDS, the Equal Rights Amendment or recognizing lesbian, gay and bisexual families, it addresses the issues.”\u003c/span>\u003c/p>\n\u003cp>The day before the DNC, BiPOL held the nation’s first bisexual rights rally outside the Moscone Center. Admittedly, fewer attendees showed up than performers, which included a theater troupe called Ladies Against Women (satirizing right-wing female politicians), an out bisexual Reagan impersonator, a Veterans for Peace group and Dennis Peron, an early advocate for medical marijuana for AIDS patients. [aside postid='arts_13882197']\u003c/p>\n\u003cp>Despite the low attendance, to everyone’s surprise, BiPOL ended up having one of its most successful fundraisers to date. That same day, gay and lesbian Democrats organized a march from the Castro to the Moscone Center to promote their visibility in the DNC. And they explicitly told BiPOL organizers that bisexuals need not join them. But it was an uncharacteristically hot summer day in San Francisco, Ka’ahumanu recalls, and everyone was thirsty when they arrived at Moscone. Thankfully, the bisexuals were selling ice cold beverages outside.\u003c/p>\n\u003cp>“We had the last laugh on that one,” Ka’ahumanu says.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the days leading up to the DNC, \u003cspan class=\"s1\">Ka’ahumanu and her fellow BiPOL activists donned campaign T-shirts and set out with clipboards to scour San Francisco for Democratic Party delegates willing to sign her candidacy form, many of whom were tipsy at lavish parties, themed by state, in the ballrooms of the Hilton and other upscale hotels. \u003c/span>\u003c/p>\n\u003cp>“Puerto Rico had rum drinks and giant prawns and big ice sculptures—no holds barred on party[ing],” she says. “Every time we walked into a ballroom, it was like, ‘Holy mackerel, this is nuts.’”\u003c/p>\n\u003cp>The morning of the convention, the BiPOL team was pleased to have gathered well over the 200 required signatures, and Rockway went to DNC headquarters to submit them. After a formal count, however, Democratic Party officials claimed that Ka’ahumanu didn’t qualify; almost a third of the signatures were from alternates, not the delegates themselves, they said. As Ka’ahumanu recalls, the incensed BiPOL team stormed the DNC office, which was empty because party officials were already headed to the convention. But a binder with a list of delegates’ names revealed that some of the signatures that had been discounted were indeed from actual delegates.\u003c/p>\n\u003cp>Security arrived. Ka’ahumanu and Rockway demanded to speak to the head of the DNC, to no avail. “We knew it was over at that point,” she says. “But when we got together, we were amazed at what we had actually accomplished from this little idea about getting visibility and using political theater.”\u003c/p>\n\u003cp>Their accomplishment even snared the brass ring of media coverage at the time: a mention by prominent \u003cem>San Francisco Chronicle\u003c/em> columnist Herb Caen, despite Caen misspelling Ka’ahumanu’s name and taking subtle jabs at her sexuality and weight. “The Oral Majority tried to get a woman bisexual candidate nominated for Vice Pres. and collected 253 names on the necessary form (you only need 200) but the Demo Nat’l Committee quickly knocked off 99 signers as ‘unofficial,’ meaning alternates. The wouldn’t-be nominee: Loni Kaahunanu, a bisexual built for two,” Caen wrote.\u003c/p>\n\u003cp>Sure, not everybody got it, but Ka’ahumanu looks back at the summer of 1984 as a pivotal one for bisexual visibility. In the years that followed, she would continue her fight. In 1987, she helped create the Bay Area Bisexual Network, which took off as a social and support group for the bi community, attracting dozens of members. In 1990, she organized the first National Bisexual Conference. In 1991, she and co-editor Loraine Hutchins published the influential bisexual feminist anthology \u003cem>Bi Any Other Name\u003c/em>, and in 1993, she lobbied for bisexuals to be included in the March on Washington for Lesbian, Gay, and Bi Equal Rights and Liberation—where she was the only out bisexual speaker.\u003c/p>\n\u003cfigure id=\"attachment_13882632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13882632 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Untitled-1.jpg\" alt=\"\" width=\"800\" height=\"1204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Untitled-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Untitled-1-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Untitled-1-768x1156.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the first bisexual rights rally in 1984 in San Francisco (above). Gay and lesbian marchers overwhelming the drink stand (below). \u003ccite>(Courtesy of Lani Ka'ahumanu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ka’ahumanu and BiPOL’s work undoubtedly paved the way for increased acceptance of bisexuality and other fluid sexual identities, such as pansexual and queer. She and her allies were ahead of her time in other ways, as well: studies of Generation Z suggest the youngest generation embraces a spectrum, rather than rigid binary, of sexual orientations and gender identities alike.\u003c/p>\n\u003cp>Ka’ahumanu says she’s heartened by these generational shifts, and the increasing number of \u003ca href=\"https://www.sheknows.com/entertainment/slideshow/2090/openly-bisexual-celebrities/13/\" target=\"_blank\" rel=\"noopener noreferrer\">public figures\u003c/a> who identify as bi. But she also knows the work is not over.\u003c/p>\n\u003cp>“Why do bisexuals have \u003ca href=\"https://www.psychologytoday.com/us/blog/women-who-stray/201904/why-are-mental-health-issues-greater-among-bisexual-people\" target=\"_blank\" rel=\"noopener noreferrer\">higher depression rates, higher drug rates\u003c/a>? The invisibility is still a factor,” she says. “The fact that we can still be told make a choice—I still hear that from people. There’s a way in which bisexuals are still dismissed, whether it’s right in your face or it’s [treated as] not as important.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>She adds, “We are still fighting for visibility.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>fter coming out for the second time (first as a lesbian, then as bisexual) in the early ’80s, Lani Ka’ahumanu got together with the few out bi people in the San Francisco gay and lesbian community and started \u003ca href=\"https://www.lanikaahumanu.com/images/BiPOL%20statement%20of%20purpose_large.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">BiPOL\u003c/a>, the first advocacy organization of its kind in the United States.\u003c/p>\n\u003cp>The problem was, no one wanted to join—at least not publicly.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“We’d go out there speaking for the bisexual community and we’d come into our meetings going, ‘Oh my god, where are they?’ We were all confessionals, all of us, for people who were too afraid to come out as bisexual,” Ka’ahumanu, now 76 years old, says over the phone from her home in Sonoma County. “I had more lesbians come up to me, or call me on the phone and say, ‘You don’t know me, but someone gave me your number. I’ve been relating to a man for six months and I’m really scared to come out or else I’d lose my community’—which is what happened to me.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>Indeed, Ka’ahumanu understood their trepidation. In the 1970s, lesbians were fighting for visibility within the nascent gay rights movement, and identifying as one was often considered a political orientation—not just a sexual one. Early lesbian organizations encouraged bisexual women to pick a side, and many chose to hide the fact that they loved men as well as women in order to be accepted in this new community.\u003c/p>\n\u003cp>In response to the dominant culture’s homophobia, gay rights activists in the 1970s adopted a born-this-way, binary view of sexuality as a means of \u003ca href=\"https://www.buzzfeednews.com/article/michaelwaters/lgbt-rights-movement-sexual-fluidity-bisexuality-pride\" target=\"_blank\" rel=\"noopener noreferrer\">gaining legal protections\u003c/a> that hinged on defining sexual attraction as a biological, immutable characteristic. But that political ideology didn’t match many people’s lived experience of fluid sexual desire. After she left her husband and moved to San Francisco in the ’70s, Ka’ahumanu bought into the stereotype that bisexuality was just pitstop to coming out as gay or lesbian. Then, after years of dating women, things changed when she fell in love with a bisexual man, Bill Mack, who was traveling through a Mendocino County clothing-optional resort where Ka’ahumanu worked as a chef. In 1983, she and Mack started BiPOL along with \u003cspan class=\"s1\">Autumn Courtney, Arlene Krantz, David Loreau, Alan Rockway and Maggi Rubenstein.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The founders of BiPOL were frustrated with the fact that lesbian and gay organizations treated their identity as illegitimate, telling them that they had “straight privilege” and no place in the movement. Meanwhile, in the heterosexual world, the only time bisexuals ever came up in the mainstream media was when they were demonized. \u003cspan class=\"s1\">“Bisexual men became the \u003ca href=\"https://www.pbs.org/newshour/nation/typhoid-marys-life-sentence-quarantine\" target=\"_blank\" rel=\"noopener noreferrer\">Typhoid Marys\u003c/a>. … We were the ones that were ‘spreading AIDS,’” Ka’ahumanu recalls. “Yet we were told we didn’t exist.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen the Democratic National Committee announced that it would hold its convention in San Francisco in July 1984, two weeks after the Pride parade, the members of BiPOL knew they had an opportunity to do something to promote their cause—something big.\u003c/p>\n\u003cp>Rockway had political experience in Florida, where he helped write one of the United States’ first gay and lesbian non-discrimination ordinances. He hatched a plan: BiPOL would nominate one of its members for the office of vice president of the United States. Though presidential nominees chose their running mates in practice (it was already common knowledge that Walter Mondale had chosen Geraldine Ferraro in his race against Ronald Reagan), DNC rules stipulated that with enough delegate signatures, vice presidential hopefuls could still have the chance to address the DNC—and, more importantly, the American public—at the televised convention.\u003c/p>\n\u003cp>It was a golden opportunity for BiPOL to get bisexuality in the news—and to advocate for AIDS/HIV research and treatment at a time when the disease was ravaging the community. In a savvy move, Rockway decided that BiPOL’s nominee should be Ka’ahumanu: she had the perfect, media-friendly backstory as a former heterosexual housewife who gave up her cookie-cutter life and was now an out-and-proud queer mother. He knew the political press, hungry for kooky stories from San Francisco, would run with it.\u003c/p>\n\u003cp>BiPOL announced a press conference about Ka’ahumanu’s candidacy to local outlets—and, to the activists’ surprise, reporters with notepads arrived at the appointed time at the Moscone Center, asking her the questions they would of a serious candidate. Inspired by the political theater of the era—the Sisters of Perpetual Indulgence, San Francisco’s order of drag queen-activist nuns, had begun protesting in habits and wild makeup only a few years prior—the members of BiPOL showed up with airplane-sickness bags labeled “BARF,” with each letter symbolizing the name of a noted homophobe, including President Reagan, evangelical preacher Jerry Falwell and right-wing pop vocalist Anita Bryant, the citrus spokesperson who famously waged an anti-gay media campaign in the 1970s that resulted in a \u003ca href=\"https://www.washingtonpost.com/outlook/2019/06/21/myth-that-has-shaped-christian-right-lgbtq-rights-movement-four-decades/\" target=\"_blank\" rel=\"noopener noreferrer\">Florida orange juice boycott\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13882631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/lani-1984-800x605.jpg\" alt=\"\" width=\"800\" height=\"605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984-1020x772.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984-1536x1162.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lani Ka’ahumanu addressing constituents in 1984. \u003ccite>(Courtesy fo Lani Ka'ahumanu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The stunt confused the press, resulting in the headline “\u003cspan class=\"s1\">Terrified Woman Handing Out Air Sickness Bags Announces Candidacy,” as Ka’ahumanu remembers it, in the \u003cem>San Francisco Examiner\u003c/em>. \u003c/span>\u003c/p>\n\u003cp>Though the headline didn’t quite convey the purpose of the campaign, the article \u003cem>did\u003c/em> mention bisexual rights. That was a win. And as BiPOL ramped up its media antics in the days leading up the DNC, other media mentions followed.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“It was important visibility,” says Ka’ahumanu. “Even if it sounds completely silly, at the time there was nothing about bisexuality except the negative piece that we’re spreading HIV/AIDS. If we’re out there talking about more funding for AIDS, the Equal Rights Amendment or recognizing lesbian, gay and bisexual families, it addresses the issues.”\u003c/span>\u003c/p>\n\u003cp>The day before the DNC, BiPOL held the nation’s first bisexual rights rally outside the Moscone Center. Admittedly, fewer attendees showed up than performers, which included a theater troupe called Ladies Against Women (satirizing right-wing female politicians), an out bisexual Reagan impersonator, a Veterans for Peace group and Dennis Peron, an early advocate for medical marijuana for AIDS patients. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the low attendance, to everyone’s surprise, BiPOL ended up having one of its most successful fundraisers to date. That same day, gay and lesbian Democrats organized a march from the Castro to the Moscone Center to promote their visibility in the DNC. And they explicitly told BiPOL organizers that bisexuals need not join them. But it was an uncharacteristically hot summer day in San Francisco, Ka’ahumanu recalls, and everyone was thirsty when they arrived at Moscone. Thankfully, the bisexuals were selling ice cold beverages outside.\u003c/p>\n\u003cp>“We had the last laugh on that one,” Ka’ahumanu says.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the days leading up to the DNC, \u003cspan class=\"s1\">Ka’ahumanu and her fellow BiPOL activists donned campaign T-shirts and set out with clipboards to scour San Francisco for Democratic Party delegates willing to sign her candidacy form, many of whom were tipsy at lavish parties, themed by state, in the ballrooms of the Hilton and other upscale hotels. \u003c/span>\u003c/p>\n\u003cp>“Puerto Rico had rum drinks and giant prawns and big ice sculptures—no holds barred on party[ing],” she says. “Every time we walked into a ballroom, it was like, ‘Holy mackerel, this is nuts.’”\u003c/p>\n\u003cp>The morning of the convention, the BiPOL team was pleased to have gathered well over the 200 required signatures, and Rockway went to DNC headquarters to submit them. After a formal count, however, Democratic Party officials claimed that Ka’ahumanu didn’t qualify; almost a third of the signatures were from alternates, not the delegates themselves, they said. As Ka’ahumanu recalls, the incensed BiPOL team stormed the DNC office, which was empty because party officials were already headed to the convention. But a binder with a list of delegates’ names revealed that some of the signatures that had been discounted were indeed from actual delegates.\u003c/p>\n\u003cp>Security arrived. Ka’ahumanu and Rockway demanded to speak to the head of the DNC, to no avail. “We knew it was over at that point,” she says. “But when we got together, we were amazed at what we had actually accomplished from this little idea about getting visibility and using political theater.”\u003c/p>\n\u003cp>Their accomplishment even snared the brass ring of media coverage at the time: a mention by prominent \u003cem>San Francisco Chronicle\u003c/em> columnist Herb Caen, despite Caen misspelling Ka’ahumanu’s name and taking subtle jabs at her sexuality and weight. “The Oral Majority tried to get a woman bisexual candidate nominated for Vice Pres. and collected 253 names on the necessary form (you only need 200) but the Demo Nat’l Committee quickly knocked off 99 signers as ‘unofficial,’ meaning alternates. The wouldn’t-be nominee: Loni Kaahunanu, a bisexual built for two,” Caen wrote.\u003c/p>\n\u003cp>Sure, not everybody got it, but Ka’ahumanu looks back at the summer of 1984 as a pivotal one for bisexual visibility. In the years that followed, she would continue her fight. In 1987, she helped create the Bay Area Bisexual Network, which took off as a social and support group for the bi community, attracting dozens of members. In 1990, she organized the first National Bisexual Conference. In 1991, she and co-editor Loraine Hutchins published the influential bisexual feminist anthology \u003cem>Bi Any Other Name\u003c/em>, and in 1993, she lobbied for bisexuals to be included in the March on Washington for Lesbian, Gay, and Bi Equal Rights and Liberation—where she was the only out bisexual speaker.\u003c/p>\n\u003cfigure id=\"attachment_13882632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13882632 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Untitled-1.jpg\" alt=\"\" width=\"800\" height=\"1204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Untitled-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Untitled-1-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Untitled-1-768x1156.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the first bisexual rights rally in 1984 in San Francisco (above). Gay and lesbian marchers overwhelming the drink stand (below). \u003ccite>(Courtesy of Lani Ka'ahumanu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ka’ahumanu and BiPOL’s work undoubtedly paved the way for increased acceptance of bisexuality and other fluid sexual identities, such as pansexual and queer. She and her allies were ahead of her time in other ways, as well: studies of Generation Z suggest the youngest generation embraces a spectrum, rather than rigid binary, of sexual orientations and gender identities alike.\u003c/p>\n\u003cp>Ka’ahumanu says she’s heartened by these generational shifts, and the increasing number of \u003ca href=\"https://www.sheknows.com/entertainment/slideshow/2090/openly-bisexual-celebrities/13/\" target=\"_blank\" rel=\"noopener noreferrer\">public figures\u003c/a> who identify as bi. But she also knows the work is not over.\u003c/p>\n\u003cp>“Why do bisexuals have \u003ca href=\"https://www.psychologytoday.com/us/blog/women-who-stray/201904/why-are-mental-health-issues-greater-among-bisexual-people\" target=\"_blank\" rel=\"noopener noreferrer\">higher depression rates, higher drug rates\u003c/a>? The invisibility is still a factor,” she says. “The fact that we can still be told make a choice—I still hear that from people. There’s a way in which bisexuals are still dismissed, whether it’s right in your face or it’s [treated as] not as important.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She adds, “We are still fighting for visibility.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Another traditional family,” the billboards read in large bold text.\u003c/p>\n\u003cp>They measured 15 feet high and 30 feet wide. They all bore the same image: two women close together, one white and visibly pregnant, the other Black, cradling her partner’s belly and smiling up at the camera.\u003c/p>\n\u003cp>It was 1992, and the idea that Pat and Karen Norman were a family, let alone a traditional one, was a political statement aimed at the very president of the United States.\u003c/p>\n\u003cp>Chloe Atkins, who photographed the real-life couple in her San Francisco studio for a Gay and Lesbian Alliance Against Defamation (GLAAD) campaign, remembers the day she took the picture on her four-by-five camera. \u003c/p>\n\u003cp>“We got the pose right and the composition right and the lighting right and the exposure right,” she tells me in a recent phone interview. “And then I just said, ‘Feel how proud you are to have this child.’ And then Pat looked right into the lens and Karen looked down at her big belly—how sweet, huh?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Atkins, who now splits her time between Oakland and Sebastopol, was working as a commercial photographer at the time, \u003ca href=\"https://sfpl.bibliocommons.com/item/show/1773624093_chloe_atkins_photographs_collection,_1989-1999\" rel=\"noopener noreferrer\" target=\"_blank\">taking pictures\u003c/a> for a dance club promoter and doing the occasional \u003ca href=\"https://www.flickr.com/photos/14685794@N07/4518427131\" rel=\"noopener noreferrer\" target=\"_blank\">magazine shoot\u003c/a>. She says she got a thrill every time she saw her work out in the world, whether that was on posters around town or in magazines at the grocery store. But nothing approached the scale of the GLAAD billboards, which would go on to win a Northern California Silver Addy Award from the American Advertising Federation. \u003c/p>\n\u003cp>The subjects of the billboard weren’t just chosen for their photogeneity (though they are photogenic). Pat Norman was already two decades into her long career as an LGBTQ+ and civil rights activist. In 1971, she co-founded the Lesbian Mothers Union with activist Del Martin. She was the first openly gay employee of the San Francisco Public Health Department, and the first open lesbian to run for San Francisco city supervisor. (As a testament to her historical significance, Whoopi Goldberg played her in the 2017 miniseries \u003ci>\u003ca href=\"https://www.amazon.com/When-We-Rise-Season-1/dp/B06XC8NL3J\" rel=\"noopener noreferrer\" target=\"_blank\">When We Rise\u003c/a>\u003c/i>.)\u003c/p>\n\u003cp>Through the professional history of Pat Norman, and its momentary intersection with the life of Chloe Atkins, a story of the legal rights of same-sex couples and how they’ve changed over the past half century emerges. And it can be summed up in the now-ordinariness of the billboard’s once defiant message: “another traditional family.”\u003c/p>\n\u003cfigure id=\"attachment_13882224\" class=\"wp-caption aligncenter\" style=\"max-width: 2656px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TeeterTotter.png\" alt=\"\" width=\"2656\" height=\"2546\" class=\"size-full wp-image-13882224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TeeterTotter.png 2656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TeeterTotter-160x153.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TeeterTotter-800x767.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TeeterTotter-768x736.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TeeterTotter-1020x978.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TeeterTotter-1920x1840.png 1920w\" sizes=\"auto, (max-width: 2656px) 100vw, 2656px\">\u003cfigcaption class=\"wp-caption-text\">An illustration from the summer 1972 issue of ‘Mother Lode,’ a feminist paper published in San Francisco. \u003ccite>(Archives of Sexuality and Gender)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Lesbian Mothers Union\u003c/h2>\n\u003cp>The story starts in 1967, when judges began to routinely deny lesbians and gay men their parental rights. These custody battles, the result of an increasing number of men and women coming out in the ’70s and leaving their heterosexual marriages, were often lost by gay and lesbian parents—yet they still slowly chipped away at judicial prejudice. \u003c/p>\n\u003cp>“Lesbians and gay men had to fight hard to change the perception of parenting as exclusively heterosexual,” \u003ca href=\"https://www.jstor.org/stable/40802011\" rel=\"noopener noreferrer\" target=\"_blank\">Daniel Rivers writes\u003c/a> in “‘In the Best Interests of the Child’: Lesbian and Gay Parenting Custody Cases, 1967–1985.” Ultimately, this struggle, he argues, helps explain how and why domestic, parental and marital rights came to occupy a very central role in the modern LGBTQ+ civil rights movement.\u003c/p>\n\u003cp>Groups like the Lesbian Mothers Union raised legal defense funds, provided social and professional support to lesbian mothers, and in some extreme instances, helped women go underground with their children. In a \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/189769\" rel=\"noopener noreferrer\" target=\"_blank\">1977 KQED news report\u003c/a> by Randy Shilts, a lawyer describes the hardships lesbian mothers face. “A lesbian mother lives constantly in fear that she’s going to lose her children,” she says, adding that fear can be manipulated. “A lot of women are blackmailed into giving up their right to child support.” \u003c/p>\n\u003cp>For lesbian mothers of color, their situation was especially precarious, facing multiple discriminations within the legal system.\u003c/p>\n\u003cfigure id=\"attachment_13882229\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Plexus_PatNormanCrop.jpg\" alt=\"\" width=\"1200\" height=\"1125\" class=\"size-full wp-image-13882229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Plexus_PatNormanCrop.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Plexus_PatNormanCrop-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Plexus_PatNormanCrop-800x750.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Plexus_PatNormanCrop-768x720.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Plexus_PatNormanCrop-1020x956.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An image from Rosemary Regello’s article in ‘Plexus,’ Oct. 1983. \u003ccite>(Archives of Sexuality and Gender)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As an out woman of color, Pat Norman’s voice was especially important in the movement for LGBTQ+ rights, which often focused on white, middle-class men and women. And for her, the personal was always political: She spoke about her own court battles to retain custody of her children in the 1977 documentary \u003ci>\u003ca href=\"https://www.wmm.com/catalog/film/in-the-best-interests-of-the-children/\" rel=\"noopener noreferrer\" target=\"_blank\">In the Best Interests of the Children\u003c/a>\u003c/i>. Her advocacy work would continue in her role as a community mental health worker, and as coordinator for lesbian and gay health services within the San Francisco Health Department—a role she held when the AIDS epidemic hit San Francisco. \u003c/p>\n\u003cp>By the time she and Karen posed for Atkins, Pat had run for city supervisor three times, served on the city’s police commission and was the executive director of the Institute for Community Health Outreach. Pat and Karen Norman raised six children together, and by 1995, had seven grandchildren.\u003c/p>\n\u003ch2>A Direct Message to the GOP\u003c/h2>\n\u003cp>In 1992, the idea of “traditional families” and their supposed values was very much in the air. George H. Bush was running for reelection against Bill Clinton at the time, and the \u003ca href=\"https://www.presidency.ucsb.edu/documents/republican-party-platform-1992\" rel=\"noopener noreferrer\" target=\"_blank\">Republican platform\u003c/a> presented at the party’s August convention used the phrase “family values” no less than seven times. To the GOP, traditional family values meant “having fathers and mothers in the home”; it meant opposing sexual preference as a protected minority status; and standing against “any legislation or law that legally recognizes same-sex marriages and allows such couples to adopt children or provide foster care.”\u003c/p>\n\u003cp>Against this backdrop, the “Another Traditional Family” campaign co-opted the language of the right, asserting the existence of loving families that didn’t fit the GOP’s narrow definition of American life. Atkins remembers one of the billboards, installed in San Jose, being taken down because of a bomb threat. “Can you believe that?” she asks incredulously. “I’m going to bomb your building because I’m homophobic?”\u003c/p>\n\u003cfigure id=\"attachment_13882230\" class=\"wp-caption aligncenter\" style=\"max-width: 719px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ADDY2_1993.jpg\" alt=\"\" width=\"719\" height=\"587\" class=\"size-full wp-image-13882230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ADDY2_1993.jpg 719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ADDY2_1993-160x131.jpg 160w\" sizes=\"auto, (max-width: 719px) 100vw, 719px\">\u003cfigcaption class=\"wp-caption-text\">The billboard pictured over a restaurant. \u003ccite>(Courtesy GLAAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Atkins knew Pat and Karen only as her subjects—their relationship never progressed past that one session. But her own life, as an artist and a lesbian, continued down a path only dreamed of by the liberation movement decades before. In 1998, she published \u003ci>\u003ca href=\"https://books.google.com/books/about/Girls_Night_Out.html?id=AkGoDXPUio4C\" rel=\"noopener noreferrer\" target=\"_blank\">Girls’ Night Out\u003c/a>\u003c/i>, a collection of photographs with St. Martin’s Press, part of a series called “Stonewall Inn.” Women pose in black-and-white photographs enacting playful, sensual and joyful encounters with one another, studio portraits mimicking the types of pictures Atkins would take at lesbian clubs. \u003c/p>\n\u003cp>That same year, Atkins was the subject of a short TV documentary, “Ooh La La: Chloe Atkins,” which shows the artist photographing San Francisco drag kings in her studio. “It’s four minutes long and they filmed me for like eight hours,” Atkins remembers. “Sometimes when I’m feeling not good, I watch that and I feel a lot better.”\u003c/p>\n\u003cfigure id=\"attachment_13882232\" class=\"wp-caption aligncenter\" style=\"max-width: 625px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/SteakVinnie_Combo.jpg\" alt=\"\" width=\"625\" height=\"420\" class=\"size-full wp-image-13882232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SteakVinnie_Combo.jpg 625w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SteakVinnie_Combo-160x108.jpg 160w\" sizes=\"auto, (max-width: 625px) 100vw, 625px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Atkins’ photographs of San Francisco drag kings: ‘Steak’ and ‘Vinnie Testosterone.’ \u003ccite>(Courtesy Chloe Atkins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Movement is ‘Far from Done’\u003c/h2>\n\u003cp>Atkins met Erin Flynn, her wife of 25 years, in 1994. She lists off the various certifications they filed over the course of their relationship, including a domestic partners’ reception hosted by then-Mayor Willie Brown. In 2000, they traveled to Vermont to have a civil union ceremony with their extended families. And on Feb. 14, 2004, they were officially married during what Atkins calls Gavin Newsom’s “subversive act of civil disobedience.”\u003c/p>\n\u003cp>Afterwards, she remembers, “We all went to Zuni Café. There were like 500 couples who had just gotten married at San Francisco’s City Hall. Everyone was drinking champagne and eating oysters. It was fabulous.” (Those 2004 weddings were annulled by the California Supreme Court, and Atkins and Flynn married once again at City Hall in 2008.) Finally, after years of legal battles, the 2015 Supreme Court decision upheld same-sex marriages as a civil right. \u003c/p>\n\u003cp>“Now, everybody can get married, which is the only thing we wanted honestly,” she says. “Of course it’s romantic as hell to get married every couple years, I recommended it to everybody. There’s nothing like it, really, it’s very, very affirming.”\u003c/p>\n\u003cp>Parental rights, marriage equality, the governmental recognition of loving relationships—securing the legal rights LGBTQ+ people in the United States is a ongoing battle. Just days ago, the Supreme Court ruled that gay and transgender workers are protected under the Civil Rights Act, an uplifting moment in an otherwise bleak year. \u003c/p>\n\u003cp>Rebecca Rolfe, executive director of the SF LGBT Center, \u003ca href=\"https://www.kqed.org/news/11824426/supreme-court-delivers-major-victory-to-lgbtq-employees\" rel=\"noopener noreferrer\" target=\"_blank\">says the decision is encouraging\u003c/a>, “But we also must remember that until our laws remedy systemic racism and inequality, our movement’s pursuit of LGBTQ+ equality is far from done.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s a sentiment with which Pat Norman would likely agree. Interviewed by the \u003ci>\u003ca href=\"https://www.ebar.com/news/pride/248520\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Reporter\u003c/a>\u003c/i> in 2007, on the occasion of her appointment as Grand Marshal of San Francisco’s Pride parade, she reflected on her decades of activism: “It’s strange. We go on, and certainly, there is some progress. On the other hand, there are issues in 1971 that are still the same issues we’re dealing with now.”\u003c/p>\n\n",
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"headline": "How a 1992 Billboard Loomed Large in the Fight for LGBTQ+ Rights",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Another traditional family,” the billboards read in large bold text.\u003c/p>\n\u003cp>They measured 15 feet high and 30 feet wide. They all bore the same image: two women close together, one white and visibly pregnant, the other Black, cradling her partner’s belly and smiling up at the camera.\u003c/p>\n\u003cp>It was 1992, and the idea that Pat and Karen Norman were a family, let alone a traditional one, was a political statement aimed at the very president of the United States.\u003c/p>\n\u003cp>Chloe Atkins, who photographed the real-life couple in her San Francisco studio for a Gay and Lesbian Alliance Against Defamation (GLAAD) campaign, remembers the day she took the picture on her four-by-five camera. \u003c/p>\n\u003cp>“We got the pose right and the composition right and the lighting right and the exposure right,” she tells me in a recent phone interview. “And then I just said, ‘Feel how proud you are to have this child.’ And then Pat looked right into the lens and Karen looked down at her big belly—how sweet, huh?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Atkins, who now splits her time between Oakland and Sebastopol, was working as a commercial photographer at the time, \u003ca href=\"https://sfpl.bibliocommons.com/item/show/1773624093_chloe_atkins_photographs_collection,_1989-1999\" rel=\"noopener noreferrer\" target=\"_blank\">taking pictures\u003c/a> for a dance club promoter and doing the occasional \u003ca href=\"https://www.flickr.com/photos/14685794@N07/4518427131\" rel=\"noopener noreferrer\" target=\"_blank\">magazine shoot\u003c/a>. She says she got a thrill every time she saw her work out in the world, whether that was on posters around town or in magazines at the grocery store. But nothing approached the scale of the GLAAD billboards, which would go on to win a Northern California Silver Addy Award from the American Advertising Federation. \u003c/p>\n\u003cp>The subjects of the billboard weren’t just chosen for their photogeneity (though they are photogenic). Pat Norman was already two decades into her long career as an LGBTQ+ and civil rights activist. In 1971, she co-founded the Lesbian Mothers Union with activist Del Martin. She was the first openly gay employee of the San Francisco Public Health Department, and the first open lesbian to run for San Francisco city supervisor. (As a testament to her historical significance, Whoopi Goldberg played her in the 2017 miniseries \u003ci>\u003ca href=\"https://www.amazon.com/When-We-Rise-Season-1/dp/B06XC8NL3J\" rel=\"noopener noreferrer\" target=\"_blank\">When We Rise\u003c/a>\u003c/i>.)\u003c/p>\n\u003cp>Through the professional history of Pat Norman, and its momentary intersection with the life of Chloe Atkins, a story of the legal rights of same-sex couples and how they’ve changed over the past half century emerges. And it can be summed up in the now-ordinariness of the billboard’s once defiant message: “another traditional family.”\u003c/p>\n\u003cfigure id=\"attachment_13882224\" class=\"wp-caption aligncenter\" style=\"max-width: 2656px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TeeterTotter.png\" alt=\"\" width=\"2656\" height=\"2546\" class=\"size-full wp-image-13882224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TeeterTotter.png 2656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TeeterTotter-160x153.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TeeterTotter-800x767.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TeeterTotter-768x736.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TeeterTotter-1020x978.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TeeterTotter-1920x1840.png 1920w\" sizes=\"auto, (max-width: 2656px) 100vw, 2656px\">\u003cfigcaption class=\"wp-caption-text\">An illustration from the summer 1972 issue of ‘Mother Lode,’ a feminist paper published in San Francisco. \u003ccite>(Archives of Sexuality and Gender)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Lesbian Mothers Union\u003c/h2>\n\u003cp>The story starts in 1967, when judges began to routinely deny lesbians and gay men their parental rights. These custody battles, the result of an increasing number of men and women coming out in the ’70s and leaving their heterosexual marriages, were often lost by gay and lesbian parents—yet they still slowly chipped away at judicial prejudice. \u003c/p>\n\u003cp>“Lesbians and gay men had to fight hard to change the perception of parenting as exclusively heterosexual,” \u003ca href=\"https://www.jstor.org/stable/40802011\" rel=\"noopener noreferrer\" target=\"_blank\">Daniel Rivers writes\u003c/a> in “‘In the Best Interests of the Child’: Lesbian and Gay Parenting Custody Cases, 1967–1985.” Ultimately, this struggle, he argues, helps explain how and why domestic, parental and marital rights came to occupy a very central role in the modern LGBTQ+ civil rights movement.\u003c/p>\n\u003cp>Groups like the Lesbian Mothers Union raised legal defense funds, provided social and professional support to lesbian mothers, and in some extreme instances, helped women go underground with their children. In a \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/189769\" rel=\"noopener noreferrer\" target=\"_blank\">1977 KQED news report\u003c/a> by Randy Shilts, a lawyer describes the hardships lesbian mothers face. “A lesbian mother lives constantly in fear that she’s going to lose her children,” she says, adding that fear can be manipulated. “A lot of women are blackmailed into giving up their right to child support.” \u003c/p>\n\u003cp>For lesbian mothers of color, their situation was especially precarious, facing multiple discriminations within the legal system.\u003c/p>\n\u003cfigure id=\"attachment_13882229\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Plexus_PatNormanCrop.jpg\" alt=\"\" width=\"1200\" height=\"1125\" class=\"size-full wp-image-13882229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Plexus_PatNormanCrop.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Plexus_PatNormanCrop-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Plexus_PatNormanCrop-800x750.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Plexus_PatNormanCrop-768x720.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Plexus_PatNormanCrop-1020x956.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An image from Rosemary Regello’s article in ‘Plexus,’ Oct. 1983. \u003ccite>(Archives of Sexuality and Gender)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As an out woman of color, Pat Norman’s voice was especially important in the movement for LGBTQ+ rights, which often focused on white, middle-class men and women. And for her, the personal was always political: She spoke about her own court battles to retain custody of her children in the 1977 documentary \u003ci>\u003ca href=\"https://www.wmm.com/catalog/film/in-the-best-interests-of-the-children/\" rel=\"noopener noreferrer\" target=\"_blank\">In the Best Interests of the Children\u003c/a>\u003c/i>. Her advocacy work would continue in her role as a community mental health worker, and as coordinator for lesbian and gay health services within the San Francisco Health Department—a role she held when the AIDS epidemic hit San Francisco. \u003c/p>\n\u003cp>By the time she and Karen posed for Atkins, Pat had run for city supervisor three times, served on the city’s police commission and was the executive director of the Institute for Community Health Outreach. Pat and Karen Norman raised six children together, and by 1995, had seven grandchildren.\u003c/p>\n\u003ch2>A Direct Message to the GOP\u003c/h2>\n\u003cp>In 1992, the idea of “traditional families” and their supposed values was very much in the air. George H. Bush was running for reelection against Bill Clinton at the time, and the \u003ca href=\"https://www.presidency.ucsb.edu/documents/republican-party-platform-1992\" rel=\"noopener noreferrer\" target=\"_blank\">Republican platform\u003c/a> presented at the party’s August convention used the phrase “family values” no less than seven times. To the GOP, traditional family values meant “having fathers and mothers in the home”; it meant opposing sexual preference as a protected minority status; and standing against “any legislation or law that legally recognizes same-sex marriages and allows such couples to adopt children or provide foster care.”\u003c/p>\n\u003cp>Against this backdrop, the “Another Traditional Family” campaign co-opted the language of the right, asserting the existence of loving families that didn’t fit the GOP’s narrow definition of American life. Atkins remembers one of the billboards, installed in San Jose, being taken down because of a bomb threat. “Can you believe that?” she asks incredulously. “I’m going to bomb your building because I’m homophobic?”\u003c/p>\n\u003cfigure id=\"attachment_13882230\" class=\"wp-caption aligncenter\" style=\"max-width: 719px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ADDY2_1993.jpg\" alt=\"\" width=\"719\" height=\"587\" class=\"size-full wp-image-13882230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ADDY2_1993.jpg 719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ADDY2_1993-160x131.jpg 160w\" sizes=\"auto, (max-width: 719px) 100vw, 719px\">\u003cfigcaption class=\"wp-caption-text\">The billboard pictured over a restaurant. \u003ccite>(Courtesy GLAAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Atkins knew Pat and Karen only as her subjects—their relationship never progressed past that one session. But her own life, as an artist and a lesbian, continued down a path only dreamed of by the liberation movement decades before. In 1998, she published \u003ci>\u003ca href=\"https://books.google.com/books/about/Girls_Night_Out.html?id=AkGoDXPUio4C\" rel=\"noopener noreferrer\" target=\"_blank\">Girls’ Night Out\u003c/a>\u003c/i>, a collection of photographs with St. Martin’s Press, part of a series called “Stonewall Inn.” Women pose in black-and-white photographs enacting playful, sensual and joyful encounters with one another, studio portraits mimicking the types of pictures Atkins would take at lesbian clubs. \u003c/p>\n\u003cp>That same year, Atkins was the subject of a short TV documentary, “Ooh La La: Chloe Atkins,” which shows the artist photographing San Francisco drag kings in her studio. “It’s four minutes long and they filmed me for like eight hours,” Atkins remembers. “Sometimes when I’m feeling not good, I watch that and I feel a lot better.”\u003c/p>\n\u003cfigure id=\"attachment_13882232\" class=\"wp-caption aligncenter\" style=\"max-width: 625px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/SteakVinnie_Combo.jpg\" alt=\"\" width=\"625\" height=\"420\" class=\"size-full wp-image-13882232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SteakVinnie_Combo.jpg 625w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SteakVinnie_Combo-160x108.jpg 160w\" sizes=\"auto, (max-width: 625px) 100vw, 625px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Atkins’ photographs of San Francisco drag kings: ‘Steak’ and ‘Vinnie Testosterone.’ \u003ccite>(Courtesy Chloe Atkins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Movement is ‘Far from Done’\u003c/h2>\n\u003cp>Atkins met Erin Flynn, her wife of 25 years, in 1994. She lists off the various certifications they filed over the course of their relationship, including a domestic partners’ reception hosted by then-Mayor Willie Brown. In 2000, they traveled to Vermont to have a civil union ceremony with their extended families. And on Feb. 14, 2004, they were officially married during what Atkins calls Gavin Newsom’s “subversive act of civil disobedience.”\u003c/p>\n\u003cp>Afterwards, she remembers, “We all went to Zuni Café. There were like 500 couples who had just gotten married at San Francisco’s City Hall. Everyone was drinking champagne and eating oysters. It was fabulous.” (Those 2004 weddings were annulled by the California Supreme Court, and Atkins and Flynn married once again at City Hall in 2008.) Finally, after years of legal battles, the 2015 Supreme Court decision upheld same-sex marriages as a civil right. \u003c/p>\n\u003cp>“Now, everybody can get married, which is the only thing we wanted honestly,” she says. “Of course it’s romantic as hell to get married every couple years, I recommended it to everybody. There’s nothing like it, really, it’s very, very affirming.”\u003c/p>\n\u003cp>Parental rights, marriage equality, the governmental recognition of loving relationships—securing the legal rights LGBTQ+ people in the United States is a ongoing battle. Just days ago, the Supreme Court ruled that gay and transgender workers are protected under the Civil Rights Act, an uplifting moment in an otherwise bleak year. \u003c/p>\n\u003cp>Rebecca Rolfe, executive director of the SF LGBT Center, \u003ca href=\"https://www.kqed.org/news/11824426/supreme-court-delivers-major-victory-to-lgbtq-employees\" rel=\"noopener noreferrer\" target=\"_blank\">says the decision is encouraging\u003c/a>, “But we also must remember that until our laws remedy systemic racism and inequality, our movement’s pursuit of LGBTQ+ equality is far from done.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a sentiment with which Pat Norman would likely agree. Interviewed by the \u003ci>\u003ca href=\"https://www.ebar.com/news/pride/248520\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Reporter\u003c/a>\u003c/i> in 2007, on the occasion of her appointment as Grand Marshal of San Francisco’s Pride parade, she reflected on her decades of activism: “It’s strange. We go on, and certainly, there is some progress. On the other hand, there are issues in 1971 that are still the same issues we’re dealing with now.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hovering in the Closet Doorway: 'Love, Victor'",
"headTitle": "Hovering in the Closet Doorway: ‘Love, Victor’ | KQED",
"content": "\u003cp>The main impression left by 2018’s pat, polished and inoffensive gay-teen rom-com \u003cem>Love, Simon \u003c/em>was how consummately unqueer it presented. Sure, its protagonist, Simon, struggled with his sexual identity, but he did so from inside thick layers of privilege that kept him safe, like a suit of bougie, masc-for-masc chain mail. He was white, he lived in a tony Atlanta suburb with his liberal, warm, wet-eyed parents—he could and did easily pass for straight.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ykHeGtN4m94\u003c/p>\n\u003cp>At least the film acknowledged, indirectly, that Simon’s life in his roomy, well-appointed closet was a luxury unavailable to many queer teens. Simon confessed to us that his decision not to come out was rooted in fear—but not, as it is for millions of queer kids, out of fear for his physical, emotional or financial safety, or even fear that he’d be rejected by friends and family. No, he was simply worried that his cushy suburban idyll would, in some way, change.\u003c/p>\n\u003cp>That’s why, though it was packaged as a chance for LGBTQ+ kids to finally see themselves on screen in a mainstream love story, the film’s low-stakes, normcore sensibility, to say nothing of its tendency to patiently explain aspects of gay life that wouldn’t need explaining to any gay kid with a laptop, felt as if they were pitched squarely (heh) at straights.\u003c/p>\n\u003cp>Enter: \u003cem>Love, Victor\u003c/em>, Hulu’s follow-up series, in which the film’s writers get a chance to course-correct. And in the pilot’s opening minutes, the series espouses a mission statement that engages with the film’s limitations in a way that seems promising.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fifteen-year-old Victor Salazar (Michael Cimino) has just moved from Texas to the same Atlanta suburb featured in the film, to attend the same high school Simon did. But Victor and his family are Colombian American. His parents have to work harder than Simon’s—both to make ends meet and to make their marriage work. They are conservative and religious.\u003c/p>\n\u003cp>All of this signals an opportunity to grapple with thornier, more substantive conflicts related to coming out than Simon ever faced. And the series’s framing device—a series of texts between Victor and Simon (voiced by the film’s Nick Robinson)—kicks off promisingly, with Victor angrily calling Simon out on his privilege.\u003c/p>\n\u003cp>But while the specifics of Victor’s family life continue to imbue the series with a more lived-in texture than the film managed to achieve, the writing soon—too soon—adopts the restrained tone of the movie. Victor’s high school friends slot neatly into types—the eccentric pal (Anthony Turpel), the popular rich girl (Rachel Hilson), her friend who speaks in a stream of just-past-their-sell-by-date pop-culture references (Bebe Wood), the arrogant jock (Mason Gooding). All are given room to deepen/complicate, which they do by hitting all the familiar stations of the teen rom-com cross: house party, love triangle, school dance, etc.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uh-IaEaEdE0\u003c/p>\n\u003cp>Like Simon before him, Victor seems woefully naive in ways that allow him to serve as a proxy for straight viewers.\u003c/p>\n\u003cp>But just … \u003cem>deeply \u003c/em>sheltered straight viewers.\u003c/p>\n\u003cp>How else to explain, in this the year of our Lord 2020, his shocked disbelief in a late-season episode that \u003cem>Wait, there are gay … athletes?\u003c/em>\u003c/p>\n\u003cp>It’s a moment that, had \u003cem>Love, Victor\u003c/em> retained the convictions evinced in the pilot, might allow the series to address something real, in a spiky way: Victor’s very evident internalized homophobia. To queer kids like Victor who can pass for straight, the guardedness they carry isn’t quickly or easily dropped. It curdles all too readily into toxic behavior—disdaining, or performatively lashing out at, kids whose queerness can’t be as conveniently hidden; paranoia that their secret will come out before they can; a festering self-hatred that fuels thoughts of self-harm.\u003c/p>\n\u003cp>Instead, we just see Victor get a bit rattled around the queer people he meets. There’s a nugget of truth, there—just as there’s something intriguing about Victor’s romantic relationship with popular girl Mia. The show pays lip service to the notion that Victor may be bisexual or nonbinary without ever truly engaging with it, because the story it seeks to tell is a more familiar one altogether.\u003c/p>\n\u003cp>There’s a winsome, pillow-lipped hottie for Simon to moon over (George Sear), you see, and awkward passes to be made and rebuffed. There’s a revelation that must be revealed—first to his weird best friend, intentionally, and then to other interested parties, along the accidental-yet-wildly-convenient routes that are the stuff of rom-coms (always check for feet under the bathroom stalls before baring your dang soul, people; come on, we’ve been over this).\u003c/p>\n\u003cp>Which is to say: Despite the differences between their leads, \u003cem>Love, Victor\u003c/em> conforms exactly to the narrative shape and modest, crowd-pleasing ambitions of the film that preceded it. And if that’s where the show’s intentions lie, and it manages to tell its conventional tale with charming performances from Cimino et al., why begrudge it not doing more? Especially given that the season ends on a note that suggests a desire to tell a different, more difficult story, should it get a second season—a story with real stakes, insurmountable conflicts and lasting repercussions?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I mean, given everything that leads up to that moment, a second season of \u003cem>Love, Victor\u003c/em> probably won’t choose to tell \u003cem>that \u003c/em>story. But there’s some hope it might. After all, this first season was produced for Disney+, which ultimately balked at airing the show on its service. Now that the series has found a home at Hulu, it’s intriguing to imagine a second season conceived and executed without catering to the House of Mouse’s all-ages audience—a \u003cem>Love, Victor\u003c/em> that allows Victor to love.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Hovering+In+The+Closet+Doorway%3A+%27Love%2C+Victor%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The main impression left by 2018’s pat, polished and inoffensive gay-teen rom-com \u003cem>Love, Simon \u003c/em>was how consummately unqueer it presented. Sure, its protagonist, Simon, struggled with his sexual identity, but he did so from inside thick layers of privilege that kept him safe, like a suit of bougie, masc-for-masc chain mail. He was white, he lived in a tony Atlanta suburb with his liberal, warm, wet-eyed parents—he could and did easily pass for straight.\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/ykHeGtN4m94'\n title='//www.youtube.com/embed/ykHeGtN4m94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At least the film acknowledged, indirectly, that Simon’s life in his roomy, well-appointed closet was a luxury unavailable to many queer teens. Simon confessed to us that his decision not to come out was rooted in fear—but not, as it is for millions of queer kids, out of fear for his physical, emotional or financial safety, or even fear that he’d be rejected by friends and family. No, he was simply worried that his cushy suburban idyll would, in some way, change.\u003c/p>\n\u003cp>That’s why, though it was packaged as a chance for LGBTQ+ kids to finally see themselves on screen in a mainstream love story, the film’s low-stakes, normcore sensibility, to say nothing of its tendency to patiently explain aspects of gay life that wouldn’t need explaining to any gay kid with a laptop, felt as if they were pitched squarely (heh) at straights.\u003c/p>\n\u003cp>Enter: \u003cem>Love, Victor\u003c/em>, Hulu’s follow-up series, in which the film’s writers get a chance to course-correct. And in the pilot’s opening minutes, the series espouses a mission statement that engages with the film’s limitations in a way that seems promising.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fifteen-year-old Victor Salazar (Michael Cimino) has just moved from Texas to the same Atlanta suburb featured in the film, to attend the same high school Simon did. But Victor and his family are Colombian American. His parents have to work harder than Simon’s—both to make ends meet and to make their marriage work. They are conservative and religious.\u003c/p>\n\u003cp>All of this signals an opportunity to grapple with thornier, more substantive conflicts related to coming out than Simon ever faced. And the series’s framing device—a series of texts between Victor and Simon (voiced by the film’s Nick Robinson)—kicks off promisingly, with Victor angrily calling Simon out on his privilege.\u003c/p>\n\u003cp>But while the specifics of Victor’s family life continue to imbue the series with a more lived-in texture than the film managed to achieve, the writing soon—too soon—adopts the restrained tone of the movie. Victor’s high school friends slot neatly into types—the eccentric pal (Anthony Turpel), the popular rich girl (Rachel Hilson), her friend who speaks in a stream of just-past-their-sell-by-date pop-culture references (Bebe Wood), the arrogant jock (Mason Gooding). All are given room to deepen/complicate, which they do by hitting all the familiar stations of the teen rom-com cross: house party, love triangle, school dance, etc.\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/uh-IaEaEdE0'\n title='//www.youtube.com/embed/uh-IaEaEdE0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like Simon before him, Victor seems woefully naive in ways that allow him to serve as a proxy for straight viewers.\u003c/p>\n\u003cp>But just … \u003cem>deeply \u003c/em>sheltered straight viewers.\u003c/p>\n\u003cp>How else to explain, in this the year of our Lord 2020, his shocked disbelief in a late-season episode that \u003cem>Wait, there are gay … athletes?\u003c/em>\u003c/p>\n\u003cp>It’s a moment that, had \u003cem>Love, Victor\u003c/em> retained the convictions evinced in the pilot, might allow the series to address something real, in a spiky way: Victor’s very evident internalized homophobia. To queer kids like Victor who can pass for straight, the guardedness they carry isn’t quickly or easily dropped. It curdles all too readily into toxic behavior—disdaining, or performatively lashing out at, kids whose queerness can’t be as conveniently hidden; paranoia that their secret will come out before they can; a festering self-hatred that fuels thoughts of self-harm.\u003c/p>\n\u003cp>Instead, we just see Victor get a bit rattled around the queer people he meets. There’s a nugget of truth, there—just as there’s something intriguing about Victor’s romantic relationship with popular girl Mia. The show pays lip service to the notion that Victor may be bisexual or nonbinary without ever truly engaging with it, because the story it seeks to tell is a more familiar one altogether.\u003c/p>\n\u003cp>There’s a winsome, pillow-lipped hottie for Simon to moon over (George Sear), you see, and awkward passes to be made and rebuffed. There’s a revelation that must be revealed—first to his weird best friend, intentionally, and then to other interested parties, along the accidental-yet-wildly-convenient routes that are the stuff of rom-coms (always check for feet under the bathroom stalls before baring your dang soul, people; come on, we’ve been over this).\u003c/p>\n\u003cp>Which is to say: Despite the differences between their leads, \u003cem>Love, Victor\u003c/em> conforms exactly to the narrative shape and modest, crowd-pleasing ambitions of the film that preceded it. And if that’s where the show’s intentions lie, and it manages to tell its conventional tale with charming performances from Cimino et al., why begrudge it not doing more? Especially given that the season ends on a note that suggests a desire to tell a different, more difficult story, should it get a second season—a story with real stakes, insurmountable conflicts and lasting repercussions?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I mean, given everything that leads up to that moment, a second season of \u003cem>Love, Victor\u003c/em> probably won’t choose to tell \u003cem>that \u003c/em>story. But there’s some hope it might. After all, this first season was produced for Disney+, which ultimately balked at airing the show on its service. Now that the series has found a home at Hulu, it’s intriguing to imagine a second season conceived and executed without catering to the House of Mouse’s all-ages audience—a \u003cem>Love, Victor\u003c/em> that allows Victor to love.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Hovering+In+The+Closet+Doorway%3A+%27Love%2C+Victor%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While Pride month is full of festivities celebrating the LGBTQ+ community and its allies, it’s rooted in decades of radical activism, much of which took place in the Bay Area. How well do you know this history? Take the quiz to find out.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" id=\"quizWidget-477671\" width=\"100%\" height=\"900px\" frameborder=\"0\" border=\"none\" src=\"https://www.qzzr.com/widget/quiz/fi9xdWl6emVzLzQ3NzY3MQ\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>In 1860s Germany, \u003ca href=\"https://en.wikipedia.org/wiki/Karl_Heinrich_Ulrichs\" target=\"_blank\" rel=\"noopener noreferrer\">Karl Heinrich Ulrichs\u003c/a> urged other gay people to publicly reveal their sexual orientation. In 1914, \u003ca href=\"https://books.google.com/books/about/The_Homosexuality_of_Men_and_Women.html?id=iDhWtiLsIMwC\" target=\"_blank\" rel=\"noopener noreferrer\">Magnus Hirschfeld wrote\u003c/a> of the revolutionary potential of respected gay women and men coming out en masse. By the late 1960s, coming out was treated with the utmost importance within the gay rights movement. And in 1977, Gay Bob arrived.\u003c/p>\n\u003cp>It was the same year that Harvey Milk became the first openly gay man elected to public office in California. And while Milk was urging his friends and community to \u003ca href=\"https://www.huffpost.com/entry/how-harvey-milks-challeng_b_5960258\" target=\"_blank\" rel=\"noopener noreferrer\">come out of the closet\u003c/a>, the “World’s First Gay Doll” was doing the exact same thing.\u003c/p>\n\u003cfigure id=\"attachment_13880946\" class=\"wp-caption aligncenter\" style=\"max-width: 420px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880946\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/gay-bob-doll-4.jpg\" alt=\"An original ad for the Gay Bob doll.\" width=\"420\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gay-bob-doll-4.jpg 420w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gay-bob-doll-4-160x244.jpg 160w\" sizes=\"auto, (max-width: 420px) 100vw, 420px\">\u003cfigcaption class=\"wp-caption-text\">An original ad for the Gay Bob doll.\u003c/figcaption>\u003c/figure>\n\u003cp>Designed to look like a combination of Paul Newman and Robert Redford and packed into his own cardboard closet, Gay Bob was the brainchild of former advertising executive Harvey Rosenberg. The New Yorker used $10,000 of his own money to launch the doll and had it made in Hong Kong after American \u003ca href=\"https://hornet.com/stories/gay-bob-doll/\" target=\"_blank\" rel=\"noopener noreferrer\">manufacturers refused\u003c/a> to make Bob’s groin anatomically correct.\u003c/p>\n\u003cp>Rosenberg wanted Gay Bob to normalize the coming out process, while also acting as a fun accessory for those who were already out and proud. In \u003ca href=\"https://www.youtube.com/watch?v=3z6jPlHMlxU\" target=\"_blank\" rel=\"noopener noreferrer\">an interview\u003c/a> to promote Gay Bob, Rosenberg once said, “Bob’s perfect for an executive’s desk, dash board ornament, the attache case, the bathtub rim, a health club gym bag.”\u003c/p>\n\u003cp>Despite Gay Bob having a realistic penis, the snazzy fashion catalog contained in the doll’s packaging was distinctly child-friendly:\u003c/p>\n\u003cblockquote>\u003cp>Hi boys, girls and grownups, I’m Gay Bob, the world’s first gay doll. I bet you are wondering why I come packed in a closet. ‘Coming out of the closet’ is an expression which means that you admit the truth about yourself and are no longer ashamed of what you are… Gay people are no different than straight people. If everyone came out of their closets, there wouldn’t be so many angry, frustrated, frightened people… It’s not easy to be honest about what you are, in fact it takes a great deal of courage. But remember, if Gay Bob has the courage to come out of his closet, so can you!\u003c/p>\u003c/blockquote>\n\u003cp>Despite his optimistic message, conservative groups of the era viewed Gay Bob as a threat to family values. Edward Rowe, the executive director of Protect America’s Children, was quoted in a \u003ca href=\"https://www.newspapers.com/clip/32186037/gays-and-dolls-a-piece-about-the-gay/\" target=\"_blank\" rel=\"noopener noreferrer\">1978 issue of the \u003cem>Pittsburgh Post-Gazette\u003c/em>\u003c/a> describing Gay Bob as “another evidence of the desperation the homosexual campaign has reached in its effort to put homosexual lifestyle, which is a death style, across to the American people. I can only hope that the children who are given these Gay Bob dolls will not comprehend the meaning and intent of the campaign.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Attempts to get the doll into department stores were largely a failure, so Rosenberg primarily sold Gay Bob via mail order ads in gay magazines. One doll cost $19.50, including shipping and handling, and it was $35 for a pair. Two thousand people snapped up their own Gay Bobs in the first two months of the doll being available, and Bob was later stocked in San Francisco and New York boutiques.\u003c/p>\n\u003cp>In addition to winning \u003cem>Esquire’\u003c/em>s “\u003ca href=\"https://artsandculture.google.com/asset/doll-gay-bob-harvey-rosenberg-inc/7AH5W5xCmLdaPg?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Dubious Achievement Award\u003c/a>” in 1978, Gay Bob got his very own storyline in Frank Zappa’s 9-minute ode to sexual experimentation, “\u003ca href=\"https://www.youtube.com/watch?v=-u-0e4Gn2BU\" target=\"_blank\" rel=\"noopener noreferrer\">Sy Borg\u003c/a>.” In the song, a robotic voice tells a human man: “I share this apartment with a modified Gay Bob doll. He goes all the way! Ever try oral sex with a miniature rubberized homo-replica?” And then later: “This is him. Your wish is his command. He likes you. He wants to kiss you always. Just tell him what you want.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Today, Gay Bob is simply an amusing quirk on the timeline of LGBTQ+ history. But he remains in demand as a collector’s item, fetching \u003ca href=\"https://www.ebay.com/itm/1977-GAY-BOB-OUT-THE-CLOSET-13-DOLL-never-pulled-from-box/293550344513?hash=item4458f6c941:g:gHwAAOSwrENemg4G\" target=\"_blank\" rel=\"noopener noreferrer\">upwards of $200\u003c/a> on auction websites. At the time he was made, tongue-in-cheek though he was, Bob was meant to increase the visibility of gay people everywhere. “We had something to learn from the gay movement, just like we did from the Black civil rights movement and the women’s movement,” \u003ca href=\"https://www.babiafi.co.uk/2015/07/gay-bob.html\" target=\"_blank\" rel=\"noopener noreferrer\">Harvey Rosenberg once said\u003c/a>. “And that is having the courage to stand up and say ‘I have a right to be what I am.’”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1860s Germany, \u003ca href=\"https://en.wikipedia.org/wiki/Karl_Heinrich_Ulrichs\" target=\"_blank\" rel=\"noopener noreferrer\">Karl Heinrich Ulrichs\u003c/a> urged other gay people to publicly reveal their sexual orientation. In 1914, \u003ca href=\"https://books.google.com/books/about/The_Homosexuality_of_Men_and_Women.html?id=iDhWtiLsIMwC\" target=\"_blank\" rel=\"noopener noreferrer\">Magnus Hirschfeld wrote\u003c/a> of the revolutionary potential of respected gay women and men coming out en masse. By the late 1960s, coming out was treated with the utmost importance within the gay rights movement. And in 1977, Gay Bob arrived.\u003c/p>\n\u003cp>It was the same year that Harvey Milk became the first openly gay man elected to public office in California. And while Milk was urging his friends and community to \u003ca href=\"https://www.huffpost.com/entry/how-harvey-milks-challeng_b_5960258\" target=\"_blank\" rel=\"noopener noreferrer\">come out of the closet\u003c/a>, the “World’s First Gay Doll” was doing the exact same thing.\u003c/p>\n\u003cfigure id=\"attachment_13880946\" class=\"wp-caption aligncenter\" style=\"max-width: 420px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880946\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/gay-bob-doll-4.jpg\" alt=\"An original ad for the Gay Bob doll.\" width=\"420\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gay-bob-doll-4.jpg 420w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gay-bob-doll-4-160x244.jpg 160w\" sizes=\"auto, (max-width: 420px) 100vw, 420px\">\u003cfigcaption class=\"wp-caption-text\">An original ad for the Gay Bob doll.\u003c/figcaption>\u003c/figure>\n\u003cp>Designed to look like a combination of Paul Newman and Robert Redford and packed into his own cardboard closet, Gay Bob was the brainchild of former advertising executive Harvey Rosenberg. The New Yorker used $10,000 of his own money to launch the doll and had it made in Hong Kong after American \u003ca href=\"https://hornet.com/stories/gay-bob-doll/\" target=\"_blank\" rel=\"noopener noreferrer\">manufacturers refused\u003c/a> to make Bob’s groin anatomically correct.\u003c/p>\n\u003cp>Rosenberg wanted Gay Bob to normalize the coming out process, while also acting as a fun accessory for those who were already out and proud. In \u003ca href=\"https://www.youtube.com/watch?v=3z6jPlHMlxU\" target=\"_blank\" rel=\"noopener noreferrer\">an interview\u003c/a> to promote Gay Bob, Rosenberg once said, “Bob’s perfect for an executive’s desk, dash board ornament, the attache case, the bathtub rim, a health club gym bag.”\u003c/p>\n\u003cp>Despite Gay Bob having a realistic penis, the snazzy fashion catalog contained in the doll’s packaging was distinctly child-friendly:\u003c/p>\n\u003cblockquote>\u003cp>Hi boys, girls and grownups, I’m Gay Bob, the world’s first gay doll. I bet you are wondering why I come packed in a closet. ‘Coming out of the closet’ is an expression which means that you admit the truth about yourself and are no longer ashamed of what you are… Gay people are no different than straight people. If everyone came out of their closets, there wouldn’t be so many angry, frustrated, frightened people… It’s not easy to be honest about what you are, in fact it takes a great deal of courage. But remember, if Gay Bob has the courage to come out of his closet, so can you!\u003c/p>\u003c/blockquote>\n\u003cp>Despite his optimistic message, conservative groups of the era viewed Gay Bob as a threat to family values. Edward Rowe, the executive director of Protect America’s Children, was quoted in a \u003ca href=\"https://www.newspapers.com/clip/32186037/gays-and-dolls-a-piece-about-the-gay/\" target=\"_blank\" rel=\"noopener noreferrer\">1978 issue of the \u003cem>Pittsburgh Post-Gazette\u003c/em>\u003c/a> describing Gay Bob as “another evidence of the desperation the homosexual campaign has reached in its effort to put homosexual lifestyle, which is a death style, across to the American people. I can only hope that the children who are given these Gay Bob dolls will not comprehend the meaning and intent of the campaign.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Attempts to get the doll into department stores were largely a failure, so Rosenberg primarily sold Gay Bob via mail order ads in gay magazines. One doll cost $19.50, including shipping and handling, and it was $35 for a pair. Two thousand people snapped up their own Gay Bobs in the first two months of the doll being available, and Bob was later stocked in San Francisco and New York boutiques.\u003c/p>\n\u003cp>In addition to winning \u003cem>Esquire’\u003c/em>s “\u003ca href=\"https://artsandculture.google.com/asset/doll-gay-bob-harvey-rosenberg-inc/7AH5W5xCmLdaPg?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Dubious Achievement Award\u003c/a>” in 1978, Gay Bob got his very own storyline in Frank Zappa’s 9-minute ode to sexual experimentation, “\u003ca href=\"https://www.youtube.com/watch?v=-u-0e4Gn2BU\" target=\"_blank\" rel=\"noopener noreferrer\">Sy Borg\u003c/a>.” In the song, a robotic voice tells a human man: “I share this apartment with a modified Gay Bob doll. He goes all the way! Ever try oral sex with a miniature rubberized homo-replica?” And then later: “This is him. Your wish is his command. He likes you. He wants to kiss you always. Just tell him what you want.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Today, Gay Bob is simply an amusing quirk on the timeline of LGBTQ+ history. But he remains in demand as a collector’s item, fetching \u003ca href=\"https://www.ebay.com/itm/1977-GAY-BOB-OUT-THE-CLOSET-13-DOLL-never-pulled-from-box/293550344513?hash=item4458f6c941:g:gHwAAOSwrENemg4G\" target=\"_blank\" rel=\"noopener noreferrer\">upwards of $200\u003c/a> on auction websites. At the time he was made, tongue-in-cheek though he was, Bob was meant to increase the visibility of gay people everywhere. “We had something to learn from the gay movement, just like we did from the Black civil rights movement and the women’s movement,” \u003ca href=\"https://www.babiafi.co.uk/2015/07/gay-bob.html\" target=\"_blank\" rel=\"noopener noreferrer\">Harvey Rosenberg once said\u003c/a>. “And that is having the courage to stand up and say ‘I have a right to be what I am.’”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This past weekend, Harry Potter author J.K. Rowling brought a lot of criticism on herself with a series of tweets that many read as transphobic. She seemed to have been set off by an article on access to menstrual hygiene supplies during a global pandemic that referenced “people who menstruate.”\u003c/p>\n\u003cp>“People who menstruate,” she \u003ca href=\"https://twitter.com/jk_rowling/status/1269382518362509313?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a> alongside a \u003ca href=\"https://www.devex.com/news/sponsored/opinion-creating-a-more-equal-post-covid-19-world-for-people-who-menstruate-97312#.XtwLnv0aEeR.twitter\" target=\"_blank\" rel=\"noopener noreferrer\">link to the article\u003c/a>, “I’m sure there used to be a word for those people. Someone help me out. Wumben? Wimpund? Woomud?”\u003c/p>\n\u003cp>She followed up \u003ca href=\"https://twitter.com/jk_rowling/status/1269389298664701952?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">a few minutes later\u003c/a>: “If sex isn’t real, there’s no same-sex attraction. If sex isn’t real, the lived reality of women globally is erased. I know and love trans people, but erasing the concept of sex removes the ability of many to meaningfully discuss their lives. It isn’t hate to speak the truth.”\u003c/p>\n\u003cp>https://twitter.com/jk_rowling/status/1269406094595588096\u003c/p>\n\u003cp>Let me get this out of the way: It feels odd for me to be writing this essay right now. Not only are we in the middle of a global pandemic that has killed more than 100,000 people in the United States alone, disproportionately affecting black and brown communities, but black people in the United States—and all over the world—are protesting for basic equality in the face of police brutality after the killing of George Floyd. But here we are.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And here I am, a person who once revered Rowling, a person who is also in the community that she invalidated with a few careless tweets. I’m nonbinary, meaning that my gender identity doesn’t categorize neatly as man or woman. Trans men also don’t fit into the woman category. We are, quite literally, people who menstruate, and it’s more than a little disappointing that the woman who created a wizarding world that meant everything to me doesn’t care to include me or my community.\u003c/p>\n\u003cp>I’m of the generation that grew up with Harry Potter and his friends. I can chart my adolescence through the series—I was 8 when I read \u003cem>Sorcerer’s Stone\u003c/em>, 17 and a fresh high school graduate when \u003cem>Deathly Hallows \u003c/em>published. My friends and I dressed up to attend midnight release parties at our local bookstores, midnight premieres at the movie theater. At my loneliest, Hogwarts was my refuge. I identified with Harry’s unease in the Muggle world, identified with the idea of needing to wear Muggle clothes in order to blend in, identified with Harry’s relief at finally finding his people. Maybe the reason I don’t fit in anywhere is that I’m a wizard, I’d think at night. Maybe I just haven’t discovered my magic yet, but when I do, I’ll find \u003cem>my\u003c/em> people. [aside postid='arts_13858877']\u003c/p>\n\u003cp>Turns out, there was something I hadn’t discovered back then: My queer self. I was unable or unwilling to examine that queer self, the way Muggles either couldn’t or didn’t want to see Diagon Alley, hidden in plain sight. Once I had the language to describe myself, it was as if a new world revealed itself to me. Discovering the queer community and queer culture felt, to me, a lot like Harry felt walking into Diagon Alley for the first time: A riot of color and noise and wonder. Finally, a place I belonged. Finally, magic.\u003c/p>\n\u003cp>So you’ll excuse me if it hurts personally, maybe a little too personally, that Rowling so casually mocks language that seeks to include me and other trans people. But I’m not shocked. This isn’t the first time that Rowling has expressed views like this. As recently as December of 2019, she was tweeting support for Maya Forstater, \u003ca href=\"https://www.theguardian.com/society/2019/dec/18/judge-rules-against-charity-worker-who-lost-job-over-transgender-tweets\" target=\"_blank\" rel=\"noopener noreferrer\">a researcher who lost her job\u003c/a> over “offensive and exclusionary” \u003ca href=\"https://twitter.com/MForstater/status/1209914794347835392\" target=\"_blank\" rel=\"noopener noreferrer\">tweets in which she repeatedly misgendered a genderfluid person\u003c/a> as “a part-time cross dresser” and stated that “men cannot change into women.”\u003c/p>\n\u003cp>“Dress however you please,” \u003ca href=\"https://twitter.com/jk_rowling/status/1207646162813100033\" target=\"_blank\" rel=\"noopener noreferrer\">Rowling tweeted\u003c/a>, “but force women out of their jobs for stating that sex is real? #IStandWithMaya” This view, that biological sex—simply the way your body is built—makes you immutably one thing or the other and, therefore, trans women aren’t “real” women, is a basic tenet of trans-exclusionary radical feminists, or TERFs. As trans people and issues have gained more visibility in recent years, so has the backlash.\u003c/p>\n\u003cp>In the same series of tweets, Rowling \u003ca href=\"https://twitter.com/jk_rowling/status/1269407862234775552?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a>, “I respect every trans person’s right to live any way that feels authentic and comfortable to them. I’d march with you if you were discriminated against on the basis of being trans.”\u003c/p>\n\u003cp>If. This tiny, two-letter word has stuck in my brain. If. [aside postid='arts_13845330']\u003c/p>\n\u003cp>Studies have shown that LGBTQ people face \u003ca href=\"http://avp.org/wp-content/uploads/2019/01/NCAVP-HV-IPV-2017-report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">disproportionately high rates\u003c/a> of intimate partner and sexual violence; the Human Rights Campaign has tracked at least 12 violent deaths of a transgender or gender nonconforming individual in 2020 alone. In addition, according to the National Center for Transgender Equality, \u003ca href=\"https://transequality.org/issues/housing-homelessness\" target=\"_blank\" rel=\"noopener noreferrer\">more than 1 in 10 transgender people\u003c/a> have been evicted because of their gender identity. The group’s \u003ca href=\"https://transequality.org/sites/default/files/docs/usts/USTS-Full-Report-Dec17.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2015 U.S. Transgender Survey (USTS)\u003c/a> found that in the year prior to completing the survey, 30% of respondents who had a job reported being fired or experiencing some other form of discrimination because of their gender identity or expression. Only \u003ca href=\"https://www.hud.gov/program_offices/fair_housing_equal_opp/housing_discrimination_and_persons_identifying_lgbtq#_State%20and%20Local%20Laws\" target=\"_blank\" rel=\"noopener noreferrer\">20 states and the District of Columbia\u003c/a> have laws that prohibit housing discrimination specifically on the basis of both sexual orientation and gender identity; in recent years, \u003ca href=\"https://www.nytimes.com/2019/07/23/us/north-carolina-transgender-bathrooms.html\" target=\"_blank\" rel=\"noopener noreferrer\">bathroom bills\u003c/a> that sought to limit access to public restrooms on the basis of sex have been proposed and debated in some states. And in Rowling’s U.K., British newspapers run \u003ca href=\"https://www.theguardian.com/society/commentisfree/2020/mar/02/women-must-have-the-right-to-organise-we-will-not-be-silenced\" target=\"_blank\" rel=\"noopener noreferrer\">editorials\u003c/a> warning of the menace of “\u003ca href=\"https://www.economist.com/open-future/2018/07/03/a-system-of-gender-self-identification-would-put-women-at-risk\" target=\"_blank\" rel=\"noopener noreferrer\">gender ideology\u003c/a>.”\u003c/p>\n\u003cp>So it’s less a question of if a trans person has been discriminated against, and more a question of how, especially for black trans people. Living the way that feels authentic and comfortable for any trans or gender-nonconforming person has historically been, and continues to be, dangerous.\u003c/p>\n\u003cp>Making room for trans women or nonbinary people doesn’t crowd women out. My gender identity should have no bearing on another person’s. Rowling is right that saying or examining the ways her “life has been shaped by being female” isn’t hateful on its own. What \u003cem>is \u003c/em>hateful and unwelcome, however, is her assertion that “sex is real” and that someone’s gender identity can—and should—be boiled down to their sexual organs. What is hateful is the erasure of trans and nonbinary relationships. What is hateful is the insistence upon acknowledging “the lived reality of women globally” as if it’s a zero-sum game, and all women have the same reality and the same understanding of their womanhood.\u003c/p>\n\u003cp>Daniel Radcliffe, Harry Potter himself, \u003ca href=\"https://www.thetrevorproject.org/2020/06/08/daniel-radcliffe-responds-to-j-k-rowlings-tweets-on-gender-identity/\" target=\"_blank\" rel=\"noopener noreferrer\">released a response\u003c/a> to Rowling’s tweets through the Trevor Project, an organization that provides crisis intervention and suicide prevention services to LGBTQ youth. In it, he asserts trans women’s womanhood, points to trans-centric educational resources and writes: “To all the people who now feel that their experience of the books has been tarnished or diminished, I am deeply sorry for the pain these comments have caused you. I really hope that you don’t entirely lose what was valuable in these stories to you.” [aside postid='arts_13879063']\u003c/p>\n\u003cp>What I valued in these stories was what a lot of fans valued: The depictions of fierce loyalty among friends, the idea that love is stronger (and more mysterious) than any magic, that strength comes not just from inside yourself but from the people beside you, that evil isn’t limited to genocide but also to prejudice and oppression. Voldemort wasn’t the only villain Harry faced; The Ministry of Magic, which upheld and refused to change a system rooted on prejudice, was an enemy too. I valued the idea that a person isn’t defined by the circumstances of their lives—Lupin isn’t just a werewolf to Harry, and Hagrid isn’t just a half-giant, despite how badly others might perceive them.\u003c/p>\n\u003cp>I’ll end with one of my favorite exchanges in the series, which takes place in \u003cem>Harry Potter and the Chamber of Secrets\u003c/em>. Harry emerges from his second battle with Voldemort worried over the similarities he seems to share with the evil wizard. Professor Dumbledore tells him: “It is our choices, Harry, that show what we truly are, far more than our abilities.” It’s unfortunate what Rowling’s choices have revealed about her.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Mallory Yu is an associate producer for \u003c/em>All Things Considered.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This past weekend, Harry Potter author J.K. Rowling brought a lot of criticism on herself with a series of tweets that many read as transphobic. She seemed to have been set off by an article on access to menstrual hygiene supplies during a global pandemic that referenced “people who menstruate.”\u003c/p>\n\u003cp>“People who menstruate,” she \u003ca href=\"https://twitter.com/jk_rowling/status/1269382518362509313?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a> alongside a \u003ca href=\"https://www.devex.com/news/sponsored/opinion-creating-a-more-equal-post-covid-19-world-for-people-who-menstruate-97312#.XtwLnv0aEeR.twitter\" target=\"_blank\" rel=\"noopener noreferrer\">link to the article\u003c/a>, “I’m sure there used to be a word for those people. Someone help me out. Wumben? Wimpund? Woomud?”\u003c/p>\n\u003cp>She followed up \u003ca href=\"https://twitter.com/jk_rowling/status/1269389298664701952?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">a few minutes later\u003c/a>: “If sex isn’t real, there’s no same-sex attraction. If sex isn’t real, the lived reality of women globally is erased. I know and love trans people, but erasing the concept of sex removes the ability of many to meaningfully discuss their lives. It isn’t hate to speak the truth.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Let me get this out of the way: It feels odd for me to be writing this essay right now. Not only are we in the middle of a global pandemic that has killed more than 100,000 people in the United States alone, disproportionately affecting black and brown communities, but black people in the United States—and all over the world—are protesting for basic equality in the face of police brutality after the killing of George Floyd. But here we are.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And here I am, a person who once revered Rowling, a person who is also in the community that she invalidated with a few careless tweets. I’m nonbinary, meaning that my gender identity doesn’t categorize neatly as man or woman. Trans men also don’t fit into the woman category. We are, quite literally, people who menstruate, and it’s more than a little disappointing that the woman who created a wizarding world that meant everything to me doesn’t care to include me or my community.\u003c/p>\n\u003cp>I’m of the generation that grew up with Harry Potter and his friends. I can chart my adolescence through the series—I was 8 when I read \u003cem>Sorcerer’s Stone\u003c/em>, 17 and a fresh high school graduate when \u003cem>Deathly Hallows \u003c/em>published. My friends and I dressed up to attend midnight release parties at our local bookstores, midnight premieres at the movie theater. At my loneliest, Hogwarts was my refuge. I identified with Harry’s unease in the Muggle world, identified with the idea of needing to wear Muggle clothes in order to blend in, identified with Harry’s relief at finally finding his people. Maybe the reason I don’t fit in anywhere is that I’m a wizard, I’d think at night. Maybe I just haven’t discovered my magic yet, but when I do, I’ll find \u003cem>my\u003c/em> people. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Turns out, there was something I hadn’t discovered back then: My queer self. I was unable or unwilling to examine that queer self, the way Muggles either couldn’t or didn’t want to see Diagon Alley, hidden in plain sight. Once I had the language to describe myself, it was as if a new world revealed itself to me. Discovering the queer community and queer culture felt, to me, a lot like Harry felt walking into Diagon Alley for the first time: A riot of color and noise and wonder. Finally, a place I belonged. Finally, magic.\u003c/p>\n\u003cp>So you’ll excuse me if it hurts personally, maybe a little too personally, that Rowling so casually mocks language that seeks to include me and other trans people. But I’m not shocked. This isn’t the first time that Rowling has expressed views like this. As recently as December of 2019, she was tweeting support for Maya Forstater, \u003ca href=\"https://www.theguardian.com/society/2019/dec/18/judge-rules-against-charity-worker-who-lost-job-over-transgender-tweets\" target=\"_blank\" rel=\"noopener noreferrer\">a researcher who lost her job\u003c/a> over “offensive and exclusionary” \u003ca href=\"https://twitter.com/MForstater/status/1209914794347835392\" target=\"_blank\" rel=\"noopener noreferrer\">tweets in which she repeatedly misgendered a genderfluid person\u003c/a> as “a part-time cross dresser” and stated that “men cannot change into women.”\u003c/p>\n\u003cp>“Dress however you please,” \u003ca href=\"https://twitter.com/jk_rowling/status/1207646162813100033\" target=\"_blank\" rel=\"noopener noreferrer\">Rowling tweeted\u003c/a>, “but force women out of their jobs for stating that sex is real? #IStandWithMaya” This view, that biological sex—simply the way your body is built—makes you immutably one thing or the other and, therefore, trans women aren’t “real” women, is a basic tenet of trans-exclusionary radical feminists, or TERFs. As trans people and issues have gained more visibility in recent years, so has the backlash.\u003c/p>\n\u003cp>In the same series of tweets, Rowling \u003ca href=\"https://twitter.com/jk_rowling/status/1269407862234775552?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a>, “I respect every trans person’s right to live any way that feels authentic and comfortable to them. I’d march with you if you were discriminated against on the basis of being trans.”\u003c/p>\n\u003cp>If. This tiny, two-letter word has stuck in my brain. If. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Studies have shown that LGBTQ people face \u003ca href=\"http://avp.org/wp-content/uploads/2019/01/NCAVP-HV-IPV-2017-report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">disproportionately high rates\u003c/a> of intimate partner and sexual violence; the Human Rights Campaign has tracked at least 12 violent deaths of a transgender or gender nonconforming individual in 2020 alone. In addition, according to the National Center for Transgender Equality, \u003ca href=\"https://transequality.org/issues/housing-homelessness\" target=\"_blank\" rel=\"noopener noreferrer\">more than 1 in 10 transgender people\u003c/a> have been evicted because of their gender identity. The group’s \u003ca href=\"https://transequality.org/sites/default/files/docs/usts/USTS-Full-Report-Dec17.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2015 U.S. Transgender Survey (USTS)\u003c/a> found that in the year prior to completing the survey, 30% of respondents who had a job reported being fired or experiencing some other form of discrimination because of their gender identity or expression. Only \u003ca href=\"https://www.hud.gov/program_offices/fair_housing_equal_opp/housing_discrimination_and_persons_identifying_lgbtq#_State%20and%20Local%20Laws\" target=\"_blank\" rel=\"noopener noreferrer\">20 states and the District of Columbia\u003c/a> have laws that prohibit housing discrimination specifically on the basis of both sexual orientation and gender identity; in recent years, \u003ca href=\"https://www.nytimes.com/2019/07/23/us/north-carolina-transgender-bathrooms.html\" target=\"_blank\" rel=\"noopener noreferrer\">bathroom bills\u003c/a> that sought to limit access to public restrooms on the basis of sex have been proposed and debated in some states. And in Rowling’s U.K., British newspapers run \u003ca href=\"https://www.theguardian.com/society/commentisfree/2020/mar/02/women-must-have-the-right-to-organise-we-will-not-be-silenced\" target=\"_blank\" rel=\"noopener noreferrer\">editorials\u003c/a> warning of the menace of “\u003ca href=\"https://www.economist.com/open-future/2018/07/03/a-system-of-gender-self-identification-would-put-women-at-risk\" target=\"_blank\" rel=\"noopener noreferrer\">gender ideology\u003c/a>.”\u003c/p>\n\u003cp>So it’s less a question of if a trans person has been discriminated against, and more a question of how, especially for black trans people. Living the way that feels authentic and comfortable for any trans or gender-nonconforming person has historically been, and continues to be, dangerous.\u003c/p>\n\u003cp>Making room for trans women or nonbinary people doesn’t crowd women out. My gender identity should have no bearing on another person’s. Rowling is right that saying or examining the ways her “life has been shaped by being female” isn’t hateful on its own. What \u003cem>is \u003c/em>hateful and unwelcome, however, is her assertion that “sex is real” and that someone’s gender identity can—and should—be boiled down to their sexual organs. What is hateful is the erasure of trans and nonbinary relationships. What is hateful is the insistence upon acknowledging “the lived reality of women globally” as if it’s a zero-sum game, and all women have the same reality and the same understanding of their womanhood.\u003c/p>\n\u003cp>Daniel Radcliffe, Harry Potter himself, \u003ca href=\"https://www.thetrevorproject.org/2020/06/08/daniel-radcliffe-responds-to-j-k-rowlings-tweets-on-gender-identity/\" target=\"_blank\" rel=\"noopener noreferrer\">released a response\u003c/a> to Rowling’s tweets through the Trevor Project, an organization that provides crisis intervention and suicide prevention services to LGBTQ youth. In it, he asserts trans women’s womanhood, points to trans-centric educational resources and writes: “To all the people who now feel that their experience of the books has been tarnished or diminished, I am deeply sorry for the pain these comments have caused you. I really hope that you don’t entirely lose what was valuable in these stories to you.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What I valued in these stories was what a lot of fans valued: The depictions of fierce loyalty among friends, the idea that love is stronger (and more mysterious) than any magic, that strength comes not just from inside yourself but from the people beside you, that evil isn’t limited to genocide but also to prejudice and oppression. Voldemort wasn’t the only villain Harry faced; The Ministry of Magic, which upheld and refused to change a system rooted on prejudice, was an enemy too. I valued the idea that a person isn’t defined by the circumstances of their lives—Lupin isn’t just a werewolf to Harry, and Hagrid isn’t just a half-giant, despite how badly others might perceive them.\u003c/p>\n\u003cp>I’ll end with one of my favorite exchanges in the series, which takes place in \u003cem>Harry Potter and the Chamber of Secrets\u003c/em>. Harry emerges from his second battle with Voldemort worried over the similarities he seems to share with the evil wizard. Professor Dumbledore tells him: “It is our choices, Harry, that show what we truly are, far more than our abilities.” It’s unfortunate what Rowling’s choices have revealed about her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Mallory Yu is an associate producer for \u003c/em>All Things Considered.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Opinion%3A+Harry+Potter%27s+Magic+Fades+When+His+Creator+Tweets&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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