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"title": "In 2025, the Valkyries’ Inaugural Season Reminded Me of Women’s Raw Power",
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"content": "\u003cp>\u003cem>This week, as we near the end of 2025, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year.\u003c/em>\u003c/p>\n\u003cp>[dropcap]I[/dropcap]t was a particularly glorious \u003ca href=\"https://www.kqed.org/arts/tag/sf-pride\">San Francisco Pride\u003c/a> weekend. My jeans had grass stains from a sunny afternoon at Dolores Park, and my heart was on fire from the passion and solidarity I witnessed at the \u003ca href=\"https://www.kqed.org/arts/13858877/how-the-trans-community-reclaimed-its-rightful-place-at-pride\">Trans March\u003c/a>. After we joined a pink, white and blue procession of gender-nonconforming people demanding dignity down Market Street, one of my best friends and I took Muni to the Chase Center and stepped into a sea of violet, lavender and lilac. I had been to professional basketball games before, but there was another level of excitement vibrating through the stadium during the first-ever Pride game of the Bay Area WNBA team’s inaugural season.\u003c/p>\n\u003cfigure id=\"attachment_13984641\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984641\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_9576-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_9576-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_9576-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_9576-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_9576-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_9576-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">KQED Arts & Culture’s Nastia Voynovskaya courtside at Chase Center during the Valkyries’ warm-up on Aug. 19, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Valkyries won against the Chicago Sky, yes, but what stood out the most to me were the moments of connection and community, large and small. Throughout the Valkyries’ inaugural season, Ballhalla — as their home court is known — became a super queer, massive celebration of women’s raw power and strength. In a year when conservative ideas about gender made a major comeback, this was the antidote I didn’t know I needed.\u003c/p>\n\u003cp>[dropcap]F[/dropcap]rom the players, to the creative luminaries on the jumbotron, to the fans in the stands, my first Valkyries game felt completely different from any other professional sports experience. Seated next to me was a friend of a friend, and we hit it off in a conversation that began with basketball and ended with spirituality and the deeper \u003ci>why\u003c/i> of our creative practices. All around me in the extended friend group were artists, healers and teachers — queer women and nonbinary people defining their lives on their own terms, and using their talents to invite others to seek the same freedom.\u003c/p>\n\u003cp>I looked up at the jumbotron, which featured technicolor, nature-inspired designs by \u003ca href=\"https://favianna.com/\">Favianna Rodriguez\u003c/a>, an Oakland visual artist and activist whose radiant butterflies have decorated protest signs calling for climate justice and reproductive freedom all over the world. It was Rodriguez who first opened my eyes to the power of art to move hearts and shape social movements when I went to a talk of hers over a decade ago, when I was first embarking upon my journalism career. It’s a pillar that underpins most of my writing all these years later. And there she was courtside, an accomplished queer woman dedicated to liberation, being honored in a stadium of 18,064 screaming fans.\u003c/p>\n\u003cp>\u003ci>Ballhalla gets it\u003c/i>, I thought. \u003cem>This is bigger than basketball.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13980788\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/20250516_ValkyriesHomeOpener_GC-43_qed.jpg\" alt=\"two fans whip lavender shirts over heads in crowd\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/20250516_ValkyriesHomeOpener_GC-43_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/20250516_ValkyriesHomeOpener_GC-43_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/20250516_ValkyriesHomeOpener_GC-43_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/20250516_ValkyriesHomeOpener_GC-43_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans cheer as the Golden State Valkyries scored during their WNBA season opener against the Los Angeles Sparks at Chase Center on May 16, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, of course, there was the actual game, which had me and my friends gasping and screaming as the Valkyries eked out a narrow lead. In the fourth quarter, forward Kayla Thornton sunk her fourth three-pointer, long braids whipping behind her as she ran down the court, and the arena erupted with ecstatic cheers. It hit me that these 18,064 people of all genders, ethnicities and ages were here to celebrate not just the home team, but an entire culture that has grown around these fierce women. [aside postid='arts_13980855']\u003c/p>\n\u003cp>[dropcap]T[/dropcap]hat realization felt significant on a bone-deep level, especially when I considered the ways the U.S. has backslid on women’s and trans rights in recent years. \u003ca href=\"https://www.teenvogue.com/story/how-tradwives-use-sexism-racism-and-transphobia-to-police-other-women\">Tradwife discourse\u003c/a> and \u003ca href=\"https://www.ibtimes.co.uk/where-did-all-big-girls-go-lizzo-sounds-alarm-ozempic-culture-1757458\">Ozempic campaigns\u003c/a>. The loss of abortion access after the Supreme Court toppled Roe v. Wade. The ongoing, ever-more-hostile attacks on trans people’s access to medical care. Vice President J.D. Vance’s statements that people without children \u003ca href=\"https://www.nbcnews.com/politics/2024-election/jd-vance-allotting-votes-people-children-thought-experiment-rcna166140\">should have fewer voting rights\u003c/a>. His infamous 2024 comments deriding “childless cat ladies,” echoing a tired insult that’s been leveled at women who don’t hinge their happiness on male approval \u003ca href=\"https://www.kqed.org/arts/13891913/how-the-crazy-cat-lady-became-one-of-pop-cultures-most-enduring-sexist-tropes\">since the witch trials of the 1300s\u003c/a>.\u003c/p>\n\u003cp>Whether from celebrities, social media or the highest halls of power, women and LGBTQ+ people are once again inundated with messaging about how we should shrink and contort ourselves into boxes — boxes that many of us don’t fit into as we strive to live full, empowered lives.\u003c/p>\n\u003cfigure id=\"attachment_13984643\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/250917-VALKYRIESPLAYOFFS-14-BL_QED-KQED.jpg\" alt=\"Valkyries player Cecilia Zandalasini shoots the basketball as fans watch in anticipation.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/250917-VALKYRIESPLAYOFFS-14-BL_QED-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/250917-VALKYRIESPLAYOFFS-14-BL_QED-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/250917-VALKYRIESPLAYOFFS-14-BL_QED-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/250917-VALKYRIESPLAYOFFS-14-BL_QED-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Game 2 of the Valkyries vs. Minnesota Lynx WNBA playoff game at the SAP Center in San Jose on Sept. 17, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, on the court, in the media and in their fight for fair pay, players like the Las Vegas Aces’ A’ja Wilson and Minnesota Lynx’s Napheesa Collier, and coaches like Valkyries’ Natalie Nakase, are unafraid to take up space. They don’t apologize for their ambition — they let it roar.\u003c/p>\n\u003cp>[dropcap]I[/dropcap]n 2025, the Valkyries made history: They broke attendance records by selling out the Chase Center for every game, and became the first expansion team to make it to the playoffs. The WNBA has enjoyed its largest attendance numbers since its inception, with plans to expand the league to 18 teams by 2030. It’s worth celebrating that the WNBA achieved that mainstream popularity without players sacrificing their authenticity. [ad fullwidth]\u003c/p>\n\u003cp>Some of the league’s most visible personalities, the Lynx’s Court Williams and Natisha Hiedeman — aka StudBudz — are proudly masculine-of-center lesbians with a passionate following that transcends race and gender lines. Indeed, 57% of WNBA fans are men, and young boys are a growing part of that demographic. They want to see women win, too.\u003c/p>\n\u003cp>If the past few years have taught us anything, it’s that in 2026, women and trans people have to be prepared to defend a growing list of freedoms that we might’ve taken for granted in the past. But there’s power in the collective. The joy, solidarity and awe I’ve experienced at WNBA games reminds me that another world is possible.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, as we near the end of 2025, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>t was a particularly glorious \u003ca href=\"https://www.kqed.org/arts/tag/sf-pride\">San Francisco Pride\u003c/a> weekend. My jeans had grass stains from a sunny afternoon at Dolores Park, and my heart was on fire from the passion and solidarity I witnessed at the \u003ca href=\"https://www.kqed.org/arts/13858877/how-the-trans-community-reclaimed-its-rightful-place-at-pride\">Trans March\u003c/a>. After we joined a pink, white and blue procession of gender-nonconforming people demanding dignity down Market Street, one of my best friends and I took Muni to the Chase Center and stepped into a sea of violet, lavender and lilac. I had been to professional basketball games before, but there was another level of excitement vibrating through the stadium during the first-ever Pride game of the Bay Area WNBA team’s inaugural season.\u003c/p>\n\u003cfigure id=\"attachment_13984641\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984641\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_9576-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_9576-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_9576-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_9576-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_9576-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_9576-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">KQED Arts & Culture’s Nastia Voynovskaya courtside at Chase Center during the Valkyries’ warm-up on Aug. 19, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Valkyries won against the Chicago Sky, yes, but what stood out the most to me were the moments of connection and community, large and small. Throughout the Valkyries’ inaugural season, Ballhalla — as their home court is known — became a super queer, massive celebration of women’s raw power and strength. In a year when conservative ideas about gender made a major comeback, this was the antidote I didn’t know I needed.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>rom the players, to the creative luminaries on the jumbotron, to the fans in the stands, my first Valkyries game felt completely different from any other professional sports experience. Seated next to me was a friend of a friend, and we hit it off in a conversation that began with basketball and ended with spirituality and the deeper \u003ci>why\u003c/i> of our creative practices. All around me in the extended friend group were artists, healers and teachers — queer women and nonbinary people defining their lives on their own terms, and using their talents to invite others to seek the same freedom.\u003c/p>\n\u003cp>I looked up at the jumbotron, which featured technicolor, nature-inspired designs by \u003ca href=\"https://favianna.com/\">Favianna Rodriguez\u003c/a>, an Oakland visual artist and activist whose radiant butterflies have decorated protest signs calling for climate justice and reproductive freedom all over the world. It was Rodriguez who first opened my eyes to the power of art to move hearts and shape social movements when I went to a talk of hers over a decade ago, when I was first embarking upon my journalism career. It’s a pillar that underpins most of my writing all these years later. And there she was courtside, an accomplished queer woman dedicated to liberation, being honored in a stadium of 18,064 screaming fans.\u003c/p>\n\u003cp>\u003ci>Ballhalla gets it\u003c/i>, I thought. \u003cem>This is bigger than basketball.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13980788\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/20250516_ValkyriesHomeOpener_GC-43_qed.jpg\" alt=\"two fans whip lavender shirts over heads in crowd\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/20250516_ValkyriesHomeOpener_GC-43_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/20250516_ValkyriesHomeOpener_GC-43_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/20250516_ValkyriesHomeOpener_GC-43_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/20250516_ValkyriesHomeOpener_GC-43_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans cheer as the Golden State Valkyries scored during their WNBA season opener against the Los Angeles Sparks at Chase Center on May 16, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, of course, there was the actual game, which had me and my friends gasping and screaming as the Valkyries eked out a narrow lead. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>hat realization felt significant on a bone-deep level, especially when I considered the ways the U.S. has backslid on women’s and trans rights in recent years. \u003ca href=\"https://www.teenvogue.com/story/how-tradwives-use-sexism-racism-and-transphobia-to-police-other-women\">Tradwife discourse\u003c/a> and \u003ca href=\"https://www.ibtimes.co.uk/where-did-all-big-girls-go-lizzo-sounds-alarm-ozempic-culture-1757458\">Ozempic campaigns\u003c/a>. The loss of abortion access after the Supreme Court toppled Roe v. Wade. The ongoing, ever-more-hostile attacks on trans people’s access to medical care. Vice President J.D. Vance’s statements that people without children \u003ca href=\"https://www.nbcnews.com/politics/2024-election/jd-vance-allotting-votes-people-children-thought-experiment-rcna166140\">should have fewer voting rights\u003c/a>. His infamous 2024 comments deriding “childless cat ladies,” echoing a tired insult that’s been leveled at women who don’t hinge their happiness on male approval \u003ca href=\"https://www.kqed.org/arts/13891913/how-the-crazy-cat-lady-became-one-of-pop-cultures-most-enduring-sexist-tropes\">since the witch trials of the 1300s\u003c/a>.\u003c/p>\n\u003cp>Whether from celebrities, social media or the highest halls of power, women and LGBTQ+ people are once again inundated with messaging about how we should shrink and contort ourselves into boxes — boxes that many of us don’t fit into as we strive to live full, empowered lives.\u003c/p>\n\u003cfigure id=\"attachment_13984643\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/250917-VALKYRIESPLAYOFFS-14-BL_QED-KQED.jpg\" alt=\"Valkyries player Cecilia Zandalasini shoots the basketball as fans watch in anticipation.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/250917-VALKYRIESPLAYOFFS-14-BL_QED-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/250917-VALKYRIESPLAYOFFS-14-BL_QED-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/250917-VALKYRIESPLAYOFFS-14-BL_QED-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/250917-VALKYRIESPLAYOFFS-14-BL_QED-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Game 2 of the Valkyries vs. Minnesota Lynx WNBA playoff game at the SAP Center in San Jose on Sept. 17, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, on the court, in the media and in their fight for fair pay, players like the Las Vegas Aces’ A’ja Wilson and Minnesota Lynx’s Napheesa Collier, and coaches like Valkyries’ Natalie Nakase, are unafraid to take up space. They don’t apologize for their ambition — they let it roar.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n 2025, the Valkyries made history: They broke attendance records by selling out the Chase Center for every game, and became the first expansion team to make it to the playoffs. The WNBA has enjoyed its largest attendance numbers since its inception, with plans to expand the league to 18 teams by 2030. It’s worth celebrating that the WNBA achieved that mainstream popularity without players sacrificing their authenticity. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the league’s most visible personalities, the Lynx’s Court Williams and Natisha Hiedeman — aka StudBudz — are proudly masculine-of-center lesbians with a passionate following that transcends race and gender lines. Indeed, 57% of WNBA fans are men, and young boys are a growing part of that demographic. They want to see women win, too.\u003c/p>\n\u003cp>If the past few years have taught us anything, it’s that in 2026, women and trans people have to be prepared to defend a growing list of freedoms that we might’ve taken for granted in the past. But there’s power in the collective. The joy, solidarity and awe I’ve experienced at WNBA games reminds me that another world is possible.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“I don’t know if you’ve ever been inside an Orthodox Church,” artist KT Seibert tells KQED, “but I just have a hard time believing that straight men designed all that …”\u003c/p>\n\u003cp>[aside postid='arts_13984190']Seibert is explaining the origins of \u003cem>Be Not Afraid\u003c/em>, their new exhibition at Moth Belly Gallery that combines traditional religious iconography and a modern, distinctly queer sensibility. Seibert’s bold work has transformed the Tenderloin gallery into a compact, colorful cathedral, offering catharsis for anyone who has ever yearned for a religious sanctuary but couldn’t find one that welcomed them.\u003c/p>\n\u003cp>Beaming down from the walls are holy hands, crosses, sacred hearts and roses, blood-drenched chalices and hallowed saints. Most are made with watercolor, but more closely resemble stained glass. There’s three pieces of Seibert’s real stained glass too, abstract and dreamy at the rear of the room. Each work is imbued with true spiritual reverence.\u003c/p>\n\u003cfigure id=\"attachment_13984566\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13984566 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Hand-Cross-HRT-Final.png\" alt=\"A painting resembling stained glass of a religious hand holding a cylindrical item that is a holy cross on top and a syringe at the bottom.\" width=\"2000\" height=\"1984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Hand-Cross-HRT-Final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Hand-Cross-HRT-Final-160x159.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Hand-Cross-HRT-Final-768x762.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Hand-Cross-HRT-Final-1536x1524.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Thank God for HRT’ by KT Siebert. \u003ccite>(Courtesy of Moth Belly Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I started this thought experiment,” Seibert explains. “If I’d been born in a different time, how would I reconcile being queer and trans? And what if I couldn’t be what I wanted to be and didn’t have access to gender affirming care? And I realized I would absolutely join a monastery or a convent and I would just make religious art with a bunch of neurodivergent queer people.”\u003c/p>\n\u003cp>Seibert continues, “I bet so much of the visual language we have from the church was actually made by queer people. I can actually see it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seibert, born and raised in Baltimore but based in San Francisco for the last 15 years, returned to their Christian (specifically Russian Orthodox) roots at the start of 2025, while processing the loss of their relationship and home. Seibert thought about the best way to process their grief. They thought about their upbringing in the church and the hundreds of religious icons hanging around their Russian grandfather’s home. They started repeating a mantra to turn so much pain into productivity: “Don’t waste sadness.”\u003c/p>\n\u003cp>Seibert didn’t. One of the clearest examples of this in \u003cem>Be Not Afraid\u003c/em> is \u003cem>Tower\u003c/em>, a depiction of a simple white home with a black garage door that transfigures, via a series of ever-taller floors, into a towering temple topped by an Orthodox cross and wrapped in serpents. \u003cem>Tower\u003c/em> is the result of Seibert processing the loss of their beloved home and a nod to the fact that they pulled the Tower card in a tarot reading just two weeks before their relationship ended. (In tarot, the tower is always a harbinger of doom.)\u003c/p>\n\u003cfigure id=\"attachment_13984564\" class=\"wp-caption aligncenter\" style=\"max-width: 1008px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Tower.png\" alt=\"A painting that resembles stained glass featuring a house that transforms into a towering religious building. \" width=\"1008\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Tower.png 1008w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Tower-160x317.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Tower-768x1524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Tower-774x1536.png 774w\" sizes=\"auto, (max-width: 1008px) 100vw, 1008px\">\u003cfigcaption class=\"wp-caption-text\">‘Tower’ by KT Seibert. \u003ccite>(Courtesy of Moth Belly Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During Seibert’s creative healing journey, they found themselves forced to open up spiritually in order to finish \u003cem>Be Not Afraid\u003c/em>. The paintings became a way to honor the original creators of the religious icons Seibert incorporated into their work.\u003c/p>\n\u003cp>[aside postid='arts_13983871']“[In] the process of making an icon,” Seibert says, “you’re supposed to go into a trance. The process of making it is, in and of itself, a spiritual thing. It’s supposed to be a window into heaven and the realm, so when I was making these pieces, I was going purely on vibes.\u003c/p>\n\u003cp>“This has been definitely the most difficult year of my life,” Seibert adds. “Having something like this to put that energy into and connect with the realms was really necessary.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Be Not Afraid’ is on view at Moth Belly gallery (912 Larkin St., San Francisco) through Jan. 31, 2026.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Seibert is explaining the origins of \u003cem>Be Not Afraid\u003c/em>, their new exhibition at Moth Belly Gallery that combines traditional religious iconography and a modern, distinctly queer sensibility. Seibert’s bold work has transformed the Tenderloin gallery into a compact, colorful cathedral, offering catharsis for anyone who has ever yearned for a religious sanctuary but couldn’t find one that welcomed them.\u003c/p>\n\u003cp>Beaming down from the walls are holy hands, crosses, sacred hearts and roses, blood-drenched chalices and hallowed saints. Most are made with watercolor, but more closely resemble stained glass. There’s three pieces of Seibert’s real stained glass too, abstract and dreamy at the rear of the room. Each work is imbued with true spiritual reverence.\u003c/p>\n\u003cfigure id=\"attachment_13984566\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13984566 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Hand-Cross-HRT-Final.png\" alt=\"A painting resembling stained glass of a religious hand holding a cylindrical item that is a holy cross on top and a syringe at the bottom.\" width=\"2000\" height=\"1984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Hand-Cross-HRT-Final.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Hand-Cross-HRT-Final-160x159.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Hand-Cross-HRT-Final-768x762.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Hand-Cross-HRT-Final-1536x1524.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Thank God for HRT’ by KT Siebert. \u003ccite>(Courtesy of Moth Belly Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I started this thought experiment,” Seibert explains. “If I’d been born in a different time, how would I reconcile being queer and trans? And what if I couldn’t be what I wanted to be and didn’t have access to gender affirming care? And I realized I would absolutely join a monastery or a convent and I would just make religious art with a bunch of neurodivergent queer people.”\u003c/p>\n\u003cp>Seibert continues, “I bet so much of the visual language we have from the church was actually made by queer people. I can actually see it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seibert, born and raised in Baltimore but based in San Francisco for the last 15 years, returned to their Christian (specifically Russian Orthodox) roots at the start of 2025, while processing the loss of their relationship and home. Seibert thought about the best way to process their grief. They thought about their upbringing in the church and the hundreds of religious icons hanging around their Russian grandfather’s home. They started repeating a mantra to turn so much pain into productivity: “Don’t waste sadness.”\u003c/p>\n\u003cp>Seibert didn’t. One of the clearest examples of this in \u003cem>Be Not Afraid\u003c/em> is \u003cem>Tower\u003c/em>, a depiction of a simple white home with a black garage door that transfigures, via a series of ever-taller floors, into a towering temple topped by an Orthodox cross and wrapped in serpents. \u003cem>Tower\u003c/em> is the result of Seibert processing the loss of their beloved home and a nod to the fact that they pulled the Tower card in a tarot reading just two weeks before their relationship ended. (In tarot, the tower is always a harbinger of doom.)\u003c/p>\n\u003cfigure id=\"attachment_13984564\" class=\"wp-caption aligncenter\" style=\"max-width: 1008px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Tower.png\" alt=\"A painting that resembles stained glass featuring a house that transforms into a towering religious building. \" width=\"1008\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Tower.png 1008w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Tower-160x317.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Tower-768x1524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Tower-774x1536.png 774w\" sizes=\"auto, (max-width: 1008px) 100vw, 1008px\">\u003cfigcaption class=\"wp-caption-text\">‘Tower’ by KT Seibert. \u003ccite>(Courtesy of Moth Belly Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During Seibert’s creative healing journey, they found themselves forced to open up spiritually in order to finish \u003cem>Be Not Afraid\u003c/em>. The paintings became a way to honor the original creators of the religious icons Seibert incorporated into their work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“[In] the process of making an icon,” Seibert says, “you’re supposed to go into a trance. The process of making it is, in and of itself, a spiritual thing. It’s supposed to be a window into heaven and the realm, so when I was making these pieces, I was going purely on vibes.\u003c/p>\n\u003cp>“This has been definitely the most difficult year of my life,” Seibert adds. “Having something like this to put that energy into and connect with the realms was really necessary.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Be Not Afraid’ is on view at Moth Belly gallery (912 Larkin St., San Francisco) through Jan. 31, 2026.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Imagine a high-fashion circus inside a galactic wormhole and you have a sense of \u003ca href=\"https://www.instagram.com/0b.w0rld/?hl=en\">Obsidienne Obsurd\u003c/a>’s drag style. The artist is otherworldly, meticulous and unafraid to go \u003cem>all\u003c/em> the way, even when it comes to exposing their most tender vulnerabilities or risking making a fool of themself.\u003c/p>\n\u003cp>On Dec. 5, Obsidienne will bring their most ambitious work yet to the 110-year-old Calvin Simmons Theatre inside Oakland’s Henry J. Kaiser Center for the Arts, \u003cem>\u003ca href=\"https://www.gofevo.com/event/Oaklash2\">The Last 7 Days of Obsidienne Obsurd\u003c/a>\u003c/em>. Produced by Oaklash, it’s a one-night-only production that combines lip syncing, theater and chamber music, including a newly commissioned piece by Paul Wiancko of \u003ca href=\"https://www.kqed.org/arts/tag/kronos-quartet\">Kronos Quartet\u003c/a>, which Obsidienne will perform on viola alongside their classical musician parents, Debra Fong and Christopher Constanza.\u003c/p>\n\u003cp>Elaborate costuming and surrealist stagecraft come together to tell Obsidienne’s story of accepting their trans identity, their struggles with mental illness and family secrets that have been kept in silence for generations.\u003c/p>\n\u003cp>“It’s a story of meandering, being lost, being found,” Obsidienne tells KQED during a recent interview. “Part of finding the self is reckoning with the ugly parts and turning that into something beautiful. Because you can’t take it away, you just have to accept it.”\u003c/p>\n\u003cfigure id=\"attachment_13984107\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984107\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-scaled.jpg\" alt='A drag artist plays a viola inside a bar with neon text behind them that says \"Hella Fine.\"' width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Obsidienne Obsurd performs at Oaklash 2025. \u003ccite>(Ian Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raised in the South Bay by a Chinese American violinist mother and Italian American cellist father, Obsidienne is a classically trained violist who performs with orchestras and ensembles across California. They first tried drag during the pandemic, when the art form went digital. Collectives like Media Meltdown were producing livestreamed shows that challenged performers to become video editors and special effects experts. Obsidienne was hooked after Media Meltdown invited them to perform in a Keanu Reeves-themed show, and soon they were driving to obscure locations with their COVID pod to film elaborate numbers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Everyone who was watching me was like, ‘Oh you’re weird. You’re a weirdo. We like it,’” Obsidienne says. “And that was really cool.”\u003c/p>\n\u003cp>Before long, Obsidienne honed their signature style of warped, black-and-white makeup; hand-sewn costumes that turned their body into horned and tentacled shapes; performance art-y choreo that sometimes includes hyperventilation and intense eye contact; and song selections that go far outside of the pop-diva canon. [aside postid='arts_13983871']\u003c/p>\n\u003cp>It flies in the face of long-held stereotypes about what drag can be. A lot of audiences “think that if you are not a cis boy, you should not be doing drag,” Obsidienne says.\u003c/p>\n\u003cp>Obsidienne gives themself permission to embrace being different, and invites audiences to do the same. Recently in West Hollywood’s Abbey, the gay bar that inspired Chappell Roan’s smash hit “Pink Pony Club,” instead of picking something by, say, Sabrina Carpenter or Lady Gaga, Obsidienne lip synced a song by 78-year-old avant-garde musician Laurie Anderson.\u003c/p>\n\u003cp>“I’m going to make you see me, so there’s this sort of delusion that turns into sincerity,” Obsidienne says. “The suspension of disbelief. I try to project a very confident persona that is a projection of all the things in me that scare me about myself, basically.”\u003c/p>\n\u003cfigure id=\"attachment_13984109\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra.png\" alt=\"A drag artist in an orange and red feathery outfit poses with another drag artist wearing black-and-white abstract designs. \" width=\"1200\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra-768x511.png 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Oaklash co-founder Mama Celeste with Obsidienne Obsurd. \u003ccite>(Dominic Saavedra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Obsidienne has found a supportive home at \u003ca href=\"https://www.kqed.org/arts/tag/oaklash\">Oaklash\u003c/a>, a drag platform that loudly and proudly champions gender diversity, accessibility and racial justice. Each May, Oaklash produces a festival with multiple stages and over 60 local and touring performers. And even after all that, co-founder Mama Celeste says \u003cem>The Last 7 Days of Obsidienne Obsurd\u003c/em> is their most challenging project yet.\u003c/p>\n\u003cp>“It’s going to be silly and macabre and loud and colorful and bigger than you can even imagine,” she wrote in a recent email blast, inviting Oaklash fans to dress to the nines for the red carpet outside the show. [aside postid='arts_13983135']\u003c/p>\n\u003cp>\u003cem>The Last 7 Days of Obsidienne Obsurd\u003c/em> features local drag luminaries like Lisa Frankenstein, co-host of the popular party Princess at Oasis; Sassi Fran, a dancer, choreographer and member of the all-Filipino drag group FiliPINX; and Obsidienne’s drag children Lola Ren and Cult Baby. Music in the show pulls from a huge variety of references, including David Bowie, contemporary composers Chen Yi and Kaija Saariaho and even the 12th-century composer, mystic and proto-feminist \u003ca href=\"https://www.bpl.org/blogs/post/hildegard-von-bingen/\">Hildegard Von Bingen\u003c/a>.\u003c/p>\n\u003cp>“You can make noise during this performance. You can clap between movements, you don’t have to sit still like a statue,” says Obsidienne. “I think it’s really cool to be able to highlight through this project that classical music is not one thing, it is actually this whole kaleidoscope of things.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.oaklash.com/7days\">The Last 7 Days of Obsidienne Obsurd\u003c/a>’ takes place at Henry J. Kaiser Center for the Arts (10 10th Street, Oakland) on Dec. 5 at 7 p.m.\u003c/em>\u003c/p>\n\n",
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"title": "Obsidienne Obsurd’s Otherworldly Drag Touches Down in Oakland | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine a high-fashion circus inside a galactic wormhole and you have a sense of \u003ca href=\"https://www.instagram.com/0b.w0rld/?hl=en\">Obsidienne Obsurd\u003c/a>’s drag style. The artist is otherworldly, meticulous and unafraid to go \u003cem>all\u003c/em> the way, even when it comes to exposing their most tender vulnerabilities or risking making a fool of themself.\u003c/p>\n\u003cp>On Dec. 5, Obsidienne will bring their most ambitious work yet to the 110-year-old Calvin Simmons Theatre inside Oakland’s Henry J. Kaiser Center for the Arts, \u003cem>\u003ca href=\"https://www.gofevo.com/event/Oaklash2\">The Last 7 Days of Obsidienne Obsurd\u003c/a>\u003c/em>. Produced by Oaklash, it’s a one-night-only production that combines lip syncing, theater and chamber music, including a newly commissioned piece by Paul Wiancko of \u003ca href=\"https://www.kqed.org/arts/tag/kronos-quartet\">Kronos Quartet\u003c/a>, which Obsidienne will perform on viola alongside their classical musician parents, Debra Fong and Christopher Constanza.\u003c/p>\n\u003cp>Elaborate costuming and surrealist stagecraft come together to tell Obsidienne’s story of accepting their trans identity, their struggles with mental illness and family secrets that have been kept in silence for generations.\u003c/p>\n\u003cp>“It’s a story of meandering, being lost, being found,” Obsidienne tells KQED during a recent interview. “Part of finding the self is reckoning with the ugly parts and turning that into something beautiful. Because you can’t take it away, you just have to accept it.”\u003c/p>\n\u003cfigure id=\"attachment_13984107\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984107\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-scaled.jpg\" alt='A drag artist plays a viola inside a bar with neon text behind them that says \"Hella Fine.\"' width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Obsidienne Obsurd performs at Oaklash 2025. \u003ccite>(Ian Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raised in the South Bay by a Chinese American violinist mother and Italian American cellist father, Obsidienne is a classically trained violist who performs with orchestras and ensembles across California. They first tried drag during the pandemic, when the art form went digital. Collectives like Media Meltdown were producing livestreamed shows that challenged performers to become video editors and special effects experts. Obsidienne was hooked after Media Meltdown invited them to perform in a Keanu Reeves-themed show, and soon they were driving to obscure locations with their COVID pod to film elaborate numbers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everyone who was watching me was like, ‘Oh you’re weird. You’re a weirdo. We like it,’” Obsidienne says. “And that was really cool.”\u003c/p>\n\u003cp>Before long, Obsidienne honed their signature style of warped, black-and-white makeup; hand-sewn costumes that turned their body into horned and tentacled shapes; performance art-y choreo that sometimes includes hyperventilation and intense eye contact; and song selections that go far outside of the pop-diva canon. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It flies in the face of long-held stereotypes about what drag can be. A lot of audiences “think that if you are not a cis boy, you should not be doing drag,” Obsidienne says.\u003c/p>\n\u003cp>Obsidienne gives themself permission to embrace being different, and invites audiences to do the same. Recently in West Hollywood’s Abbey, the gay bar that inspired Chappell Roan’s smash hit “Pink Pony Club,” instead of picking something by, say, Sabrina Carpenter or Lady Gaga, Obsidienne lip synced a song by 78-year-old avant-garde musician Laurie Anderson.\u003c/p>\n\u003cp>“I’m going to make you see me, so there’s this sort of delusion that turns into sincerity,” Obsidienne says. “The suspension of disbelief. I try to project a very confident persona that is a projection of all the things in me that scare me about myself, basically.”\u003c/p>\n\u003cfigure id=\"attachment_13984109\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra.png\" alt=\"A drag artist in an orange and red feathery outfit poses with another drag artist wearing black-and-white abstract designs. \" width=\"1200\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra-768x511.png 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Oaklash co-founder Mama Celeste with Obsidienne Obsurd. \u003ccite>(Dominic Saavedra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Obsidienne has found a supportive home at \u003ca href=\"https://www.kqed.org/arts/tag/oaklash\">Oaklash\u003c/a>, a drag platform that loudly and proudly champions gender diversity, accessibility and racial justice. Each May, Oaklash produces a festival with multiple stages and over 60 local and touring performers. And even after all that, co-founder Mama Celeste says \u003cem>The Last 7 Days of Obsidienne Obsurd\u003c/em> is their most challenging project yet.\u003c/p>\n\u003cp>“It’s going to be silly and macabre and loud and colorful and bigger than you can even imagine,” she wrote in a recent email blast, inviting Oaklash fans to dress to the nines for the red carpet outside the show. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Last 7 Days of Obsidienne Obsurd\u003c/em> features local drag luminaries like Lisa Frankenstein, co-host of the popular party Princess at Oasis; Sassi Fran, a dancer, choreographer and member of the all-Filipino drag group FiliPINX; and Obsidienne’s drag children Lola Ren and Cult Baby. Music in the show pulls from a huge variety of references, including David Bowie, contemporary composers Chen Yi and Kaija Saariaho and even the 12th-century composer, mystic and proto-feminist \u003ca href=\"https://www.bpl.org/blogs/post/hildegard-von-bingen/\">Hildegard Von Bingen\u003c/a>.\u003c/p>\n\u003cp>“You can make noise during this performance. You can clap between movements, you don’t have to sit still like a statue,” says Obsidienne. “I think it’s really cool to be able to highlight through this project that classical music is not one thing, it is actually this whole kaleidoscope of things.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.oaklash.com/7days\">The Last 7 Days of Obsidienne Obsurd\u003c/a>’ takes place at Henry J. Kaiser Center for the Arts (10 10th Street, Oakland) on Dec. 5 at 7 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "lesbian-pie-eating-contest-rikkis-san-francisco",
"title": "Rikki’s Is Hosting a Lesbian Pie-Eating Contest",
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"headTitle": "Rikki’s Is Hosting a Lesbian Pie-Eating Contest | KQED",
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"content": "\u003cp>In the months since it opened, Rikki’s, the \u003ca href=\"https://www.kqed.org/arts/13977457/rikkis-first-womens-sports-bar-bay-area-open-castro-sf-valkyries\">Bay Area’s first sports bar dedicated to women’s athletics\u003c/a>, has hosted all kinds of queer-friendly, women-centric community events. Joyous \u003ca href=\"https://www.kqed.org/arts/13978009/2025-san-francisco-pride-party-guide-lgbtq-queer-events\">Pride Week\u003c/a> celebrations. Moving reunions of friends honoring a loved one who recently passed. And, of course, rollicking Golden State Valkyries watch parties.\u003c/p>\n\u003cp>And now, just ahead of Thanksgiving, another first: On Sunday, Nov. 23, the Castro District bar will host what might be San Francisco’s first ever \u003ca href=\"https://www.zeffy.com/en-US/ticketing/sf-lesbian-pie-eating-contest\">lesbian pie-eating contest\u003c/a> (yes, you read that correctly) — an epically sloppy, no-hands, no-forks battle for bragging rights and a $100 cash prize.\u003c/p>\n\u003cp>The event is the brainchild of \u003ci>Curve \u003c/i>magazine founder Franco Stevens, whose nonprofit \u003ca href=\"https://thecurvefoundation.org/\">Curve Foundation\u003c/a> now manages the legendary San Francisco–based lesbian magazine’s 30-plus-year archives. Reached by phone, Stevens explains that she’s always hosted a “Friday Pie Day” on the day after Thanksgiving as a way for friends and family to share all of the leftover pie they accumulate during the holiday. Often, someone would bring up the idea of having a pie-eating contest. “God, it kind of is a funny lesbian joke,” Stevens remembers thinking, “so I think I’m going to just do it.”\u003c/p>\n\u003cp>To put it plainly: “Oftentimes a woman’s private areas are called ‘pies,’” Stevens explains. “So the lesbian pie eating contest is a pun on that.”\u003c/p>\n\u003cp>Stevens, who lives in Oakland, says lesbian pie eating contests aren’t necessarily a long-held tradition in the LGBTQ+ community, at least that she’s aware of. But in the past couple of years, she has started seeing them pop up as tongue-in-cheek one-off events at queer bars in places like Portland and Brooklyn. One recent edition even inspired an \u003ca href=\"https://www.instagram.com/reel/DQ8LAZeDC09/\">extended riff by the comedian Jenny Hagel\u003c/a> on \u003ci>Late Night With Seth Meyers\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A lesbian pie-eating contest was held in Brooklyn last month … and it’s still happening because every contestant is taking their time and doing it right,” Hagel says in the set. “It’s like a straight pie-eating contest except the pie enjoys it.”\u003c/p>\n\u003cp>The jokes, of course, write themselves. But Stevens stresses that while the contest itself will be lighthearted and fun, it will also benefit a good cause. Her main goal is to promote next year’s Lesbian Visibility Week (April 21–26, 2026), whose festivities in the \u003ca href=\"https://www.lesbianvisibilityweekusa.com/\">U.S\u003c/a>. and Canada are all organized by the Curve Foundation. Launched in 2020, the annual event’s stated mission is to “shine a light on the experiences, perspectives and needs of LGBTQ+ women and nonbinary people.” In San Francisco, that has included a flag-raising ceremony, film screenings and events focused on celebrating local lesbian history.\u003c/p>\n\u003cp>Funds raised from the pie-eating contest, specifically, will help pay for permitting fees to install Lesbian Visibility Week banners in the Castro District for the entire month of April.\u003c/p>\n\u003cfigure id=\"attachment_13983945\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983945\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rikkis-soccer.jpg\" alt=\"A soccer match being shown on the TVs in a crowded sports bar.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rikkis-soccer.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rikkis-soccer-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rikkis-soccer-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rikkis-soccer-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Open since June 2025, Rikki’s regularly hosts queer-friendly, women-centric events. \u003ccite>(Courtesy of Rikki's)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The contest itself won’t be a free-for-all either. While Rikki’s co-owner Danielle Thoe won’t be competing herself, she says she’s been asked to be one of the judges: “I said, ‘I don’t know what that means, but sure.’” Mainly, it seems, she’ll be tasked with making sure that no one cheats — that every last inch of those pies get eaten. The “pie athletes” who pay the $5 entry fee (plus an additional $10 for the pie, though they can also opt to bring their own) will be judged on speed and thoroughness. Whoever finishes first will be declared the winner.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13977457,arts_13980855']\u003c/span>\u003c/span>As Stevens puts it, “No forks. No hands. No shame. Just get your face in there, and whoever can finish the pie fastest is going to get the $100.”\u003c/p>\n\u003cp>The competition will, in other words, require real speed-eating skills — though Stevens expects to have participants of all stripes. “We could have a couple of pie lickers out there that are just in it for the performance art,” she adds. “We’re totally fine with that.”\u003c/p>\n\u003cp>To help make the pie-munching bonanza an even bigger success, Stevens says she’s hoping a couple of local businesses might step up at the eleventh hour — either to donate (or pay for) the 20 9-inch pumpkin pies that the contestants will be eating, or to put up the money for the cash prize.\u003c/p>\n\u003cp>And if all goes well, Stevens would like the lesbian pie eating contest to be more than a one-night stand. Instead, she hopes it will be a new San Francisco tradition that continues for years to come.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://www.zeffy.com/en-US/ticketing/sf-lesbian-pie-eating-contest\">\u003ci>Lesbian Pie-Eating Contest\u003c/i>\u003c/a>\u003ci> will take place at 1 p.m. on Sunday, Nov. 23, at \u003c/i>\u003ca href=\"https://www.rikkisbarsf.com/\">\u003ci>Rikki’s\u003c/i>\u003c/a>\u003ci> (2223 Market St., San Francisco). The entry fee is $5, plus $10 for a pie (for contestants who don’t bring their own). Spectator tickets are free.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the months since it opened, Rikki’s, the \u003ca href=\"https://www.kqed.org/arts/13977457/rikkis-first-womens-sports-bar-bay-area-open-castro-sf-valkyries\">Bay Area’s first sports bar dedicated to women’s athletics\u003c/a>, has hosted all kinds of queer-friendly, women-centric community events. Joyous \u003ca href=\"https://www.kqed.org/arts/13978009/2025-san-francisco-pride-party-guide-lgbtq-queer-events\">Pride Week\u003c/a> celebrations. Moving reunions of friends honoring a loved one who recently passed. And, of course, rollicking Golden State Valkyries watch parties.\u003c/p>\n\u003cp>And now, just ahead of Thanksgiving, another first: On Sunday, Nov. 23, the Castro District bar will host what might be San Francisco’s first ever \u003ca href=\"https://www.zeffy.com/en-US/ticketing/sf-lesbian-pie-eating-contest\">lesbian pie-eating contest\u003c/a> (yes, you read that correctly) — an epically sloppy, no-hands, no-forks battle for bragging rights and a $100 cash prize.\u003c/p>\n\u003cp>The event is the brainchild of \u003ci>Curve \u003c/i>magazine founder Franco Stevens, whose nonprofit \u003ca href=\"https://thecurvefoundation.org/\">Curve Foundation\u003c/a> now manages the legendary San Francisco–based lesbian magazine’s 30-plus-year archives. Reached by phone, Stevens explains that she’s always hosted a “Friday Pie Day” on the day after Thanksgiving as a way for friends and family to share all of the leftover pie they accumulate during the holiday. Often, someone would bring up the idea of having a pie-eating contest. “God, it kind of is a funny lesbian joke,” Stevens remembers thinking, “so I think I’m going to just do it.”\u003c/p>\n\u003cp>To put it plainly: “Oftentimes a woman’s private areas are called ‘pies,’” Stevens explains. “So the lesbian pie eating contest is a pun on that.”\u003c/p>\n\u003cp>Stevens, who lives in Oakland, says lesbian pie eating contests aren’t necessarily a long-held tradition in the LGBTQ+ community, at least that she’s aware of. But in the past couple of years, she has started seeing them pop up as tongue-in-cheek one-off events at queer bars in places like Portland and Brooklyn. One recent edition even inspired an \u003ca href=\"https://www.instagram.com/reel/DQ8LAZeDC09/\">extended riff by the comedian Jenny Hagel\u003c/a> on \u003ci>Late Night With Seth Meyers\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A lesbian pie-eating contest was held in Brooklyn last month … and it’s still happening because every contestant is taking their time and doing it right,” Hagel says in the set. “It’s like a straight pie-eating contest except the pie enjoys it.”\u003c/p>\n\u003cp>The jokes, of course, write themselves. But Stevens stresses that while the contest itself will be lighthearted and fun, it will also benefit a good cause. Her main goal is to promote next year’s Lesbian Visibility Week (April 21–26, 2026), whose festivities in the \u003ca href=\"https://www.lesbianvisibilityweekusa.com/\">U.S\u003c/a>. and Canada are all organized by the Curve Foundation. Launched in 2020, the annual event’s stated mission is to “shine a light on the experiences, perspectives and needs of LGBTQ+ women and nonbinary people.” In San Francisco, that has included a flag-raising ceremony, film screenings and events focused on celebrating local lesbian history.\u003c/p>\n\u003cp>Funds raised from the pie-eating contest, specifically, will help pay for permitting fees to install Lesbian Visibility Week banners in the Castro District for the entire month of April.\u003c/p>\n\u003cfigure id=\"attachment_13983945\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983945\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rikkis-soccer.jpg\" alt=\"A soccer match being shown on the TVs in a crowded sports bar.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rikkis-soccer.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rikkis-soccer-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rikkis-soccer-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/rikkis-soccer-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Open since June 2025, Rikki’s regularly hosts queer-friendly, women-centric events. \u003ccite>(Courtesy of Rikki's)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The contest itself won’t be a free-for-all either. While Rikki’s co-owner Danielle Thoe won’t be competing herself, she says she’s been asked to be one of the judges: “I said, ‘I don’t know what that means, but sure.’” Mainly, it seems, she’ll be tasked with making sure that no one cheats — that every last inch of those pies get eaten. The “pie athletes” who pay the $5 entry fee (plus an additional $10 for the pie, though they can also opt to bring their own) will be judged on speed and thoroughness. Whoever finishes first will be declared the winner.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>As Stevens puts it, “No forks. No hands. No shame. Just get your face in there, and whoever can finish the pie fastest is going to get the $100.”\u003c/p>\n\u003cp>The competition will, in other words, require real speed-eating skills — though Stevens expects to have participants of all stripes. “We could have a couple of pie lickers out there that are just in it for the performance art,” she adds. “We’re totally fine with that.”\u003c/p>\n\u003cp>To help make the pie-munching bonanza an even bigger success, Stevens says she’s hoping a couple of local businesses might step up at the eleventh hour — either to donate (or pay for) the 20 9-inch pumpkin pies that the contestants will be eating, or to put up the money for the cash prize.\u003c/p>\n\u003cp>And if all goes well, Stevens would like the lesbian pie eating contest to be more than a one-night stand. Instead, she hopes it will be a new San Francisco tradition that continues for years to come.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://www.zeffy.com/en-US/ticketing/sf-lesbian-pie-eating-contest\">\u003ci>Lesbian Pie-Eating Contest\u003c/i>\u003c/a>\u003ci> will take place at 1 p.m. on Sunday, Nov. 23, at \u003c/i>\u003ca href=\"https://www.rikkisbarsf.com/\">\u003ci>Rikki’s\u003c/i>\u003c/a>\u003ci> (2223 Market St., San Francisco). The entry fee is $5, plus $10 for a pie (for contestants who don’t bring their own). Spectator tickets are free.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>TV shows like \u003cem>Abbott Elementary\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13974322/hacks-season-4-review-jean-smart-hannah-einbinder-chemistry\">\u003cem>Hacks\u003c/em>\u003c/a>, \u003cem>Heartstopper\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13974608/the-last-of-us-season-2-review-max-pedro-pascal-bella-ramsey\">\u003cem>The Last of Us\u003c/em>\u003c/a> and \u003cem>Yellowjackets\u003c/em> helped increase the ranks of \u003ca href=\"https://www.kqed.org/arts/tag/lgbtq\">LGBTQ+\u003c/a> characters on prime time by 4% over the previous season, according to a new study by the advocacy group GLAAD.\u003c/p>\n\u003cp>This year’s “Where We Are on TV” study, released Thursday, counted 489 LGBTQ+ characters across scripted prime-time broadcast, cable and streaming shows — up 21 additional characters. It marks a boost after two years of decline, but remains far below the 2021-2022 record high of 637 characters.\u003c/p>\n\u003cp>[aside postid='arts_13983377']Sarah Kate Ellis, president and CEO of the group, warned that those numbers could still decrease soon: More than 200 of the LGBTQ+ characters counted this year — in shows like \u003cem>Heartstopper\u003c/em>, \u003cem>Harlem\u003c/em> and \u003cem>Elite\u003c/em> — will not be returning due to a flurry of series cancellations, endings or because they were limited series.\u003c/p>\n\u003cp>“Storytelling brings us together and this current cultural and political climate calls on creatives and executives to double down on fair and accurate stories of LGBTQ people,” Ellis writes in the report.\u003c/p>\n\u003cp>GLAAD added that the number of transgender characters on TV has slightly increased from last year to reach 33 — 24 trans women, seven trans men, and two nonbinary characters — but only four trans characters appear on series that have been officially renewed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The report is the 20th edition of the annual tracking by GLAAD and charts a remarkable leap from just 47 LGBTQ+ characters in the first study. It arrives as President Donald Trump has targeted transgender and nonbinary people with a series of executive orders — including one declaring the existence of two unchangeable sexes — stripping government websites of “gender ideology” an reinstituting a ban on transgender service members in the military.\u003c/p>\n\u003cp>A recent Gallup poll found 9.3% of U.S. adults identified as lesbian, gay, bisexual, transgender or something other than straight or heterosexual. The percentage has more than doubled since Gallup first measured LGBTQ+ identification in 2012.\u003c/p>\n\u003cfigure id=\"attachment_13983506\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/four-seasons.png\" alt=\"A Black man and a dark-skinned white man with a beard recline in bed together peacefully. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/four-seasons.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/four-seasons-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/four-seasons-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/four-seasons-1536x1024.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Colman Domingo and Marco Calvani in a scene from ‘The Four Seasons.’ \u003ccite>(Jon Pack/Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The GLAAD study found that representation on broadcast and cable have continually declined, while streaming programming saw an increase of LGBTQ+ characters.\u003c/p>\n\u003cp>ABC last season had the largest percentage of network LGBTQ+ series regulars — with 12.9% — while Netflix had the most LGBTQ+ characters on streaming, with 177. It found that the eight major streamers added 45 characters from the 327 in the previous period.\u003c/p>\n\u003cp>GLAAD noted LGBTQ+ characters in such network shows as NBC’s \u003cem>Brilliant Minds\u003c/em>, which has a gay lead, CBS dramas \u003cem>Matlock\u003c/em> and \u003cem>Watson\u003c/em>, both of which feature supporting queer women, and ensemble characters on comedies like Fox’s \u003cem>Going Dutch\u003c/em> and NBC’s \u003cem>St. Denis Medical\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13982390']On streaming, GLAAD cited Netflix’s \u003cem>The Four Seasons\u003c/em>, \u003cem>Arcane\u003c/em> and \u003cem>Kaos\u003c/em>, and Amazon’s \u003cem>Clean Slate\u003c/em>, \u003cem>Harlem\u003c/em> and \u003cem>The Wheel of Time\u003c/em>. Hulu, meanwhile, had \u003cem>Mid-Century Modern\u003c/em>, \u003cem>Big Boys\u003c/em> and \u003cem>Wreck\u003c/em>.\u003c/p>\n\u003cp>The study found that the percentage of characters of color slightly increased up to 51% of all LGBTQ+ characters counted, and, for the second year in a row, only one LGBTQ+ character was depicted as living with HIV — but that character, on HBO Max’s \u003cem>Cris Miró\u003c/em>, won’t be returning.\u003c/p>\n\u003cp>In their 2019-20 study GLAAD had asked the industry to reach 20% representation of regularly seen LGBTQ+ characters on all three platforms by 2025, and to ensure that half of LGBTQ+ characters on every TV platform were people of color within the next two years. This year’s report does not include a challenge tied to a specific percentage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“As this study and the TV industry have evolved, so too have our benchmarks,” GLAAD said. “There is a need for urgent action and improvement today across all platforms with this newest study finding a significant portion of the LGBTQ characters counted will not return.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>TV shows like \u003cem>Abbott Elementary\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13974322/hacks-season-4-review-jean-smart-hannah-einbinder-chemistry\">\u003cem>Hacks\u003c/em>\u003c/a>, \u003cem>Heartstopper\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13974608/the-last-of-us-season-2-review-max-pedro-pascal-bella-ramsey\">\u003cem>The Last of Us\u003c/em>\u003c/a> and \u003cem>Yellowjackets\u003c/em> helped increase the ranks of \u003ca href=\"https://www.kqed.org/arts/tag/lgbtq\">LGBTQ+\u003c/a> characters on prime time by 4% over the previous season, according to a new study by the advocacy group GLAAD.\u003c/p>\n\u003cp>This year’s “Where We Are on TV” study, released Thursday, counted 489 LGBTQ+ characters across scripted prime-time broadcast, cable and streaming shows — up 21 additional characters. It marks a boost after two years of decline, but remains far below the 2021-2022 record high of 637 characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sarah Kate Ellis, president and CEO of the group, warned that those numbers could still decrease soon: More than 200 of the LGBTQ+ characters counted this year — in shows like \u003cem>Heartstopper\u003c/em>, \u003cem>Harlem\u003c/em> and \u003cem>Elite\u003c/em> — will not be returning due to a flurry of series cancellations, endings or because they were limited series.\u003c/p>\n\u003cp>“Storytelling brings us together and this current cultural and political climate calls on creatives and executives to double down on fair and accurate stories of LGBTQ people,” Ellis writes in the report.\u003c/p>\n\u003cp>GLAAD added that the number of transgender characters on TV has slightly increased from last year to reach 33 — 24 trans women, seven trans men, and two nonbinary characters — but only four trans characters appear on series that have been officially renewed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The report is the 20th edition of the annual tracking by GLAAD and charts a remarkable leap from just 47 LGBTQ+ characters in the first study. It arrives as President Donald Trump has targeted transgender and nonbinary people with a series of executive orders — including one declaring the existence of two unchangeable sexes — stripping government websites of “gender ideology” an reinstituting a ban on transgender service members in the military.\u003c/p>\n\u003cp>A recent Gallup poll found 9.3% of U.S. adults identified as lesbian, gay, bisexual, transgender or something other than straight or heterosexual. The percentage has more than doubled since Gallup first measured LGBTQ+ identification in 2012.\u003c/p>\n\u003cfigure id=\"attachment_13983506\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/four-seasons.png\" alt=\"A Black man and a dark-skinned white man with a beard recline in bed together peacefully. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/four-seasons.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/four-seasons-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/four-seasons-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/four-seasons-1536x1024.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Colman Domingo and Marco Calvani in a scene from ‘The Four Seasons.’ \u003ccite>(Jon Pack/Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The GLAAD study found that representation on broadcast and cable have continually declined, while streaming programming saw an increase of LGBTQ+ characters.\u003c/p>\n\u003cp>ABC last season had the largest percentage of network LGBTQ+ series regulars — with 12.9% — while Netflix had the most LGBTQ+ characters on streaming, with 177. It found that the eight major streamers added 45 characters from the 327 in the previous period.\u003c/p>\n\u003cp>GLAAD noted LGBTQ+ characters in such network shows as NBC’s \u003cem>Brilliant Minds\u003c/em>, which has a gay lead, CBS dramas \u003cem>Matlock\u003c/em> and \u003cem>Watson\u003c/em>, both of which feature supporting queer women, and ensemble characters on comedies like Fox’s \u003cem>Going Dutch\u003c/em> and NBC’s \u003cem>St. Denis Medical\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On streaming, GLAAD cited Netflix’s \u003cem>The Four Seasons\u003c/em>, \u003cem>Arcane\u003c/em> and \u003cem>Kaos\u003c/em>, and Amazon’s \u003cem>Clean Slate\u003c/em>, \u003cem>Harlem\u003c/em> and \u003cem>The Wheel of Time\u003c/em>. Hulu, meanwhile, had \u003cem>Mid-Century Modern\u003c/em>, \u003cem>Big Boys\u003c/em> and \u003cem>Wreck\u003c/em>.\u003c/p>\n\u003cp>The study found that the percentage of characters of color slightly increased up to 51% of all LGBTQ+ characters counted, and, for the second year in a row, only one LGBTQ+ character was depicted as living with HIV — but that character, on HBO Max’s \u003cem>Cris Miró\u003c/em>, won’t be returning.\u003c/p>\n\u003cp>In their 2019-20 study GLAAD had asked the industry to reach 20% representation of regularly seen LGBTQ+ characters on all three platforms by 2025, and to ensure that half of LGBTQ+ characters on every TV platform were people of color within the next two years. This year’s report does not include a challenge tied to a specific percentage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“As this study and the TV industry have evolved, so too have our benchmarks,” GLAAD said. “There is a need for urgent action and improvement today across all platforms with this newest study finding a significant portion of the LGBTQ characters counted will not return.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.instagram.com/hilary_riversh/\">Hilary Rivers\u003c/a>, a San Francisco drag artist who was \u003ca href=\"https://www.sfchronicle.com/sf/article/drag-performer-detained-ice-20399122.php\">arrested by ICE\u003c/a> during Pride month, makes her return to the stage on \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899?aff=ebdssbcategorybrowse\">Friday, Nov. 7 at Oakland’s White Horse\u003c/a> for a performance that doubles as a fundraiser as she rebuilds her life.\u003c/p>\n\u003cp>Born in El Salvador and raised in Guatemala, Rivers came to San Francisco as an asylum seeker fleeing persecution for her LGBTQ+ identity. The day after she placed second in Miss & Mr. Safe Latino, a long-running pageant presented by Instituto Familiar de la Raza, ICE agents arrested her at a routine immigration appointment.\u003c/p>\n\u003cp>[aside postid='news_12061844']In a recent \u003ca href=\"https://48hills.org/2025/10/drag-queen-snatched-by-ice-released-with-asylum-it-was-terrible/\">interview with \u003cem>El Tecolote\u003c/em> and 48 Hills\u003c/a>, Rivers recounted her harrowing three months in immigration detention at the Golden State Annex detention center in McFarland, California, where she was kept in a freezing cold cell so overcrowded that people had to take turns sitting down. She said she experienced sexual abuse while behind bars, and survived an injury that now requires surgery.\u003c/p>\n\u003cp>Rivers was granted asylum and returned home to San Francisco on Sept. 20. Now, the drag community is rallying around her as she works to bounce back physically, emotionally and financially.\u003c/p>\n\u003cp>“I learned I’d lost almost everything, housing and belongings,” she told \u003cem>El Tecolote\u003c/em> reporter Emma Lorraine Garcia. “Some documents were missing. I’m starting from zero. Physically, I still need surgery on my leg, which got worse during detention. But I’m free, and that gives me strength.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='news_12058784']At White Horse, a nearly 100-year-old queer bar in North Oakland, Rivers will take the stage at a party called \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899?aff=ebdssbcategorybrowse\">Caballo Blanco Against ICE\u003c/a>. Joining her will be drag artists \u003ca href=\"https://www.instagram.com/xochitlqueensf/\">Xochitl\u003c/a> and \u003ca href=\"https://www.instagram.com/la_toritia/#\">Tori Tia\u003c/a>, plus DJ Deft behind the decks.\u003c/p>\n\u003cp>The show is organized by \u003ca href=\"https://www.instagram.com/chillonassf/\">Chillonas\u003c/a>, a queer Latine party in San Francisco that’s been sharing immigration resources and protest information, and \u003ca href=\"https://www.instagram.com/sabesquecollective/#\">Sabes Que\u003c/a>, a Latine and Indigenous queer artist collective.\u003c/p>\n\u003cp>Rivers also has a \u003ca href=\"https://www.gofundme.com/f/help-hilary-rivers-reestablish-her-life-after-ice-detention\">GoFundMe\u003c/a> to cover moving expenses, lost income and basic necessities as she recovers from surgery.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hilary Rivers, Xochitl and Tori Tia perform as part of \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899\">Caballo Blanco Against ICE\u003c/a> on Friday, Nov. 7 at the White Horse (6551 Telegraph Avenue, Oakland). \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/hilary_riversh/\">Hilary Rivers\u003c/a>, a San Francisco drag artist who was \u003ca href=\"https://www.sfchronicle.com/sf/article/drag-performer-detained-ice-20399122.php\">arrested by ICE\u003c/a> during Pride month, makes her return to the stage on \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899?aff=ebdssbcategorybrowse\">Friday, Nov. 7 at Oakland’s White Horse\u003c/a> for a performance that doubles as a fundraiser as she rebuilds her life.\u003c/p>\n\u003cp>Born in El Salvador and raised in Guatemala, Rivers came to San Francisco as an asylum seeker fleeing persecution for her LGBTQ+ identity. The day after she placed second in Miss & Mr. Safe Latino, a long-running pageant presented by Instituto Familiar de la Raza, ICE agents arrested her at a routine immigration appointment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a recent \u003ca href=\"https://48hills.org/2025/10/drag-queen-snatched-by-ice-released-with-asylum-it-was-terrible/\">interview with \u003cem>El Tecolote\u003c/em> and 48 Hills\u003c/a>, Rivers recounted her harrowing three months in immigration detention at the Golden State Annex detention center in McFarland, California, where she was kept in a freezing cold cell so overcrowded that people had to take turns sitting down. She said she experienced sexual abuse while behind bars, and survived an injury that now requires surgery.\u003c/p>\n\u003cp>Rivers was granted asylum and returned home to San Francisco on Sept. 20. Now, the drag community is rallying around her as she works to bounce back physically, emotionally and financially.\u003c/p>\n\u003cp>“I learned I’d lost almost everything, housing and belongings,” she told \u003cem>El Tecolote\u003c/em> reporter Emma Lorraine Garcia. “Some documents were missing. I’m starting from zero. Physically, I still need surgery on my leg, which got worse during detention. But I’m free, and that gives me strength.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At White Horse, a nearly 100-year-old queer bar in North Oakland, Rivers will take the stage at a party called \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899?aff=ebdssbcategorybrowse\">Caballo Blanco Against ICE\u003c/a>. Joining her will be drag artists \u003ca href=\"https://www.instagram.com/xochitlqueensf/\">Xochitl\u003c/a> and \u003ca href=\"https://www.instagram.com/la_toritia/#\">Tori Tia\u003c/a>, plus DJ Deft behind the decks.\u003c/p>\n\u003cp>The show is organized by \u003ca href=\"https://www.instagram.com/chillonassf/\">Chillonas\u003c/a>, a queer Latine party in San Francisco that’s been sharing immigration resources and protest information, and \u003ca href=\"https://www.instagram.com/sabesquecollective/#\">Sabes Que\u003c/a>, a Latine and Indigenous queer artist collective.\u003c/p>\n\u003cp>Rivers also has a \u003ca href=\"https://www.gofundme.com/f/help-hilary-rivers-reestablish-her-life-after-ice-detention\">GoFundMe\u003c/a> to cover moving expenses, lost income and basic necessities as she recovers from surgery.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hilary Rivers, Xochitl and Tori Tia perform as part of \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899\">Caballo Blanco Against ICE\u003c/a> on Friday, Nov. 7 at the White Horse (6551 Telegraph Avenue, Oakland). \u003ca href=\"https://www.eventbrite.com/e/chillonas-x-sabes-que-present-caballo-blanco-against-ice-tickets-1843064287899\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘The Royal We,’ Faith No More Co-Founder Tells All — But Skips His Band",
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"content": "\u003cfigure id=\"attachment_13982952\" class=\"wp-caption aligncenter\" style=\"max-width: 1378px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/roddy-b.png\" alt=\"A book cover featuring a black and white image of a young white man with chin-length dreadlocks standing against a blank wall and smiling sweetly. He is wearing a black sweater. \" width=\"1378\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/roddy-b.png 1378w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/roddy-b-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/roddy-b-768x1115.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/roddy-b-1058x1536.png 1058w\" sizes=\"auto, (max-width: 1378px) 100vw, 1378px\">\u003cfigcaption class=\"wp-caption-text\">‘The Royal We’ by Roddy Bottum. \u003ccite>(Akashic Books, Ltd.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fair to expect a memoir by Faith No More’s co-founder and keyboardist to include a wealth of revelations about the influential San Francisco band. But if that’s what you were hoping to get from Roddy Bottum’s new memoir, \u003cem>The Royal We, \u003c/em>you might leave sorely disappointed.\u003c/p>\n\u003cp>In his debut book, one of hard rock’s few gay icons does take a no-holds-barred approach to telling the story of his upbringing in Southern California and, in particular, life on the artsy fringes of 1980s San Francisco.\u003c/p>\n\u003cp>Yet, although Faith No More’s success was a huge part of Bottum’s life, I left \u003cem>The Royal We\u003c/em> with almost no idea how the band actually worked together — on tour, in the studio, writing songs or on a day-to-day organizational basis once they graduated from van life. One is left with the impression that, while Bottum is willing to tick boxes here and there about tours, hotels and vehicles, he actively withholds insights about his bandmates.\u003c/p>\n\u003cp>[aside postid='arts_13936538']What the 62-year-old does detail well in this memoir are his harrowing struggles with heroin and the loneliness he long battled because of his sexuality. Bottum shares some genuinely perturbing stories of sexual encounters he experienced with adult men while underage, growing up in Southern California. His journey to coming out in the pages of \u003cem>The Advocate\u003c/em> is a fraught and sometimes frightening one. That interview he gave to Lance Loud, he reveals, was sold to the British rock press without his consent.\u003c/p>\n\u003cp>\u003cem>The Royal We \u003c/em>shines when Bottum vividly takes the reader back to pre-tech San Francisco: the grime, the venues, the underground bands, the bike messengers, the “anything goes” of it all. Local legends like \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a> and the Dicks feature fleetingly, alongside lesser-known characters from the old-school punk scene. Bottum is refreshingly frank about his own misguided cultural appropriation during that era. (There were dashikis and white-people dreadlocks involved, he admits.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Later, Bottum very effectively captures the dichotomy of functioning as a gay musician in a rock world that was inherently homophobic. One of the high-points of the book is when he writes — and you can practically feel his skin crawling through the page — about Faith No More’s increasingly reluctant participation on a 1992 Guns N’ Roses and Metallica tour. His tales of rampant misogyny are a disturbing reminder of just how awful the pre-grunge rock world was for everyone who wasn’t a straight male meathead. In this section in particular, it’s impossible not to imagine how more of these music industry anecdotes could have opened up the book’s scope.\u003c/p>\n\u003cp>Throughout the book, Bottum revels in his lifelong friendship with Courtney Love, who fronted Faith No More for a short time. He actually devotes more pages to Love — and, consequently, Kurt Cobain — than to Faith No More’s actual frontman, Mike Patton.\u003c/p>\n\u003cp>Once the book reaches its final chapters, as Bottum wrestles with death, grief, sobriety and finding a path forward, it’s easy to forgive the omissions about his band. Perhaps his inner life ultimately has been more impacted by Courtney and Kurt than the musicians he worked with. His disinterest in discussing Faith No More in any depth would certainly suggest as much.\u003c/p>\n\u003cp>The most frustrating quirks of\u003cem> The Royal We\u003c/em> have to do with Bottum’s refusal to adhere to certain writing rules. He, by his own admission, cannot remember when things happened, so the years that most events occurred are glaringly absent, even though many can be easily found with a Google search. Friends and family members die on one page, only to emerge alive on the next. Worst of all, Bottum refuses to include people’s last names. (Love is referred to simply as “Courtney” throughout.) This can be a source of confusion with some anecdotes, especially when it comes to matters relating to Bottum’s boyfriend Jim and his bandmate, guitarist Jim Martin. This choice feels like one Bottum has included willfully — almost a “you figure it out” middle finger to the reader. (He readily explains repeatedly that being a contrarian fuels many of his actions.)\u003c/p>\n\u003cp>[aside postid='arts_13966822']Despite these issues, \u003cem>The Royal We\u003c/em> is a mostly easy, compelling read. It’s a swift 252 pages full of youthful folly, alternative culture, unchecked rebellious instincts and an undercurrent of oddly formed faith that things will work out the way that they’re supposed to. Bottum’s seemingly lifelong refusal to succumb to planning — or frankly, giving a crap about much of anything — is often astonishing to behold.\u003c/p>\n\u003cp>Could we have used some (any?) details about the recording sessions for \u003cem>Angel Dust\u003c/em>, arguably Faith No More’s greatest album? Absolutely. Would more rock ‘n’ roll dirt have been a fun addition? Undoubtedly. The overriding sense that \u003cem>The Royal We\u003c/em> is not the whole story can’t help but leave the reader wanting more — especially when Bottum so carefully picks and chooses when to let rip his most searing vulnerabilities. It’s a truly wonderful thing when he does.\u003c/p>\n\u003cp>While this memoir doesn’t always adhere to the rules of the format, that is in many ways a fitting reflection of the way Bottum has lived his life. If he ever writes a follow-up to fill in the gaps, it will surely be worth reading, just as \u003cem>The Royal We\u003c/em> is.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Royal We’ by Roddy Bottum hits shelves Nov. 4, 2025, via Akashic Books, Ltd.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13982952\" class=\"wp-caption aligncenter\" style=\"max-width: 1378px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/roddy-b.png\" alt=\"A book cover featuring a black and white image of a young white man with chin-length dreadlocks standing against a blank wall and smiling sweetly. He is wearing a black sweater. \" width=\"1378\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/roddy-b.png 1378w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/roddy-b-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/roddy-b-768x1115.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/roddy-b-1058x1536.png 1058w\" sizes=\"auto, (max-width: 1378px) 100vw, 1378px\">\u003cfigcaption class=\"wp-caption-text\">‘The Royal We’ by Roddy Bottum. \u003ccite>(Akashic Books, Ltd.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fair to expect a memoir by Faith No More’s co-founder and keyboardist to include a wealth of revelations about the influential San Francisco band. But if that’s what you were hoping to get from Roddy Bottum’s new memoir, \u003cem>The Royal We, \u003c/em>you might leave sorely disappointed.\u003c/p>\n\u003cp>In his debut book, one of hard rock’s few gay icons does take a no-holds-barred approach to telling the story of his upbringing in Southern California and, in particular, life on the artsy fringes of 1980s San Francisco.\u003c/p>\n\u003cp>Yet, although Faith No More’s success was a huge part of Bottum’s life, I left \u003cem>The Royal We\u003c/em> with almost no idea how the band actually worked together — on tour, in the studio, writing songs or on a day-to-day organizational basis once they graduated from van life. One is left with the impression that, while Bottum is willing to tick boxes here and there about tours, hotels and vehicles, he actively withholds insights about his bandmates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What the 62-year-old does detail well in this memoir are his harrowing struggles with heroin and the loneliness he long battled because of his sexuality. Bottum shares some genuinely perturbing stories of sexual encounters he experienced with adult men while underage, growing up in Southern California. His journey to coming out in the pages of \u003cem>The Advocate\u003c/em> is a fraught and sometimes frightening one. That interview he gave to Lance Loud, he reveals, was sold to the British rock press without his consent.\u003c/p>\n\u003cp>\u003cem>The Royal We \u003c/em>shines when Bottum vividly takes the reader back to pre-tech San Francisco: the grime, the venues, the underground bands, the bike messengers, the “anything goes” of it all. Local legends like \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a> and the Dicks feature fleetingly, alongside lesser-known characters from the old-school punk scene. Bottum is refreshingly frank about his own misguided cultural appropriation during that era. (There were dashikis and white-people dreadlocks involved, he admits.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Later, Bottum very effectively captures the dichotomy of functioning as a gay musician in a rock world that was inherently homophobic. One of the high-points of the book is when he writes — and you can practically feel his skin crawling through the page — about Faith No More’s increasingly reluctant participation on a 1992 Guns N’ Roses and Metallica tour. His tales of rampant misogyny are a disturbing reminder of just how awful the pre-grunge rock world was for everyone who wasn’t a straight male meathead. In this section in particular, it’s impossible not to imagine how more of these music industry anecdotes could have opened up the book’s scope.\u003c/p>\n\u003cp>Throughout the book, Bottum revels in his lifelong friendship with Courtney Love, who fronted Faith No More for a short time. He actually devotes more pages to Love — and, consequently, Kurt Cobain — than to Faith No More’s actual frontman, Mike Patton.\u003c/p>\n\u003cp>Once the book reaches its final chapters, as Bottum wrestles with death, grief, sobriety and finding a path forward, it’s easy to forgive the omissions about his band. Perhaps his inner life ultimately has been more impacted by Courtney and Kurt than the musicians he worked with. His disinterest in discussing Faith No More in any depth would certainly suggest as much.\u003c/p>\n\u003cp>The most frustrating quirks of\u003cem> The Royal We\u003c/em> have to do with Bottum’s refusal to adhere to certain writing rules. He, by his own admission, cannot remember when things happened, so the years that most events occurred are glaringly absent, even though many can be easily found with a Google search. Friends and family members die on one page, only to emerge alive on the next. Worst of all, Bottum refuses to include people’s last names. (Love is referred to simply as “Courtney” throughout.) This can be a source of confusion with some anecdotes, especially when it comes to matters relating to Bottum’s boyfriend Jim and his bandmate, guitarist Jim Martin. This choice feels like one Bottum has included willfully — almost a “you figure it out” middle finger to the reader. (He readily explains repeatedly that being a contrarian fuels many of his actions.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite these issues, \u003cem>The Royal We\u003c/em> is a mostly easy, compelling read. It’s a swift 252 pages full of youthful folly, alternative culture, unchecked rebellious instincts and an undercurrent of oddly formed faith that things will work out the way that they’re supposed to. Bottum’s seemingly lifelong refusal to succumb to planning — or frankly, giving a crap about much of anything — is often astonishing to behold.\u003c/p>\n\u003cp>Could we have used some (any?) details about the recording sessions for \u003cem>Angel Dust\u003c/em>, arguably Faith No More’s greatest album? Absolutely. Would more rock ‘n’ roll dirt have been a fun addition? Undoubtedly. The overriding sense that \u003cem>The Royal We\u003c/em> is not the whole story can’t help but leave the reader wanting more — especially when Bottum so carefully picks and chooses when to let rip his most searing vulnerabilities. It’s a truly wonderful thing when he does.\u003c/p>\n\u003cp>While this memoir doesn’t always adhere to the rules of the format, that is in many ways a fitting reflection of the way Bottum has lived his life. If he ever writes a follow-up to fill in the gaps, it will surely be worth reading, just as \u003cem>The Royal We\u003c/em> is.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Royal We’ by Roddy Bottum hits shelves Nov. 4, 2025, via Akashic Books, Ltd.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "at-somarts-day-of-the-dead-exhibition-grief-comes-in-fluorescent-colors",
"title": "At SOMArts’ Day of the Dead Exhibition, Grief Comes in Fluorescent Colors",
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"content": "\u003cp>When San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13920993/a-family-tradition-of-altar-making-as-told-by-rio-yanez\">Rio Yañez\u003c/a> and Sacramento’s \u003ca href=\"https://www.bridgettrex.com/\">Bridgétt Rex\u003c/a> began curating the 2025 Día de Los Muertos show at the San Francisco gallery and cultural center SOMArts, their mission statement was clear: Altars come in many forms. And no matter how you express your grief, you are loved.\u003c/p>\n\u003cp>“This show features artists from so many different cultural backgrounds, from so many different parts of the world,” says Yañez. “So it’s about coming together and sharing the ways in which we honor the dead.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://somarts.org/exhibition/weloveyou/\">Día de Los Muertos 2025: We Love You,\u003c/a>\u003c/em> on view now through Nov. 7, features 13 artists, all of whom are women, transgender or gender-nonconforming. Yañez says this show embodies modern interpretations, ideas and concepts of the afterlife.\u003c/p>\n\u003cp>“Being in San Francisco, we have a certain amount of leeway and freedom on how we approach this,” he adds, noting the city’s history of challenging the status quo.\u003c/p>\n\u003cfigure id=\"attachment_13982606\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982606 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-2000x1333.jpg\" alt=\"An overview of the SOMArts gallery.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">SOMArts gallery full of artwork from the ‘Día de Los Muertos 2025: We Love You’ show. \u003ccite>(Claire S Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yañez is speaking from experience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His father,\u003ca href=\"https://www.kqed.org/arts/13833740/rene-yanez-revered-chicano-artist-and-gallery-founder-dies\"> René Yañez\u003c/a>, cofounder of San Francisco’s\u003ca href=\"https://galeriadelaraza.org/\"> Galería de la Raza\u003c/a>, brought the first Día de Los Muertos public art exhibition to the city in 1972. Along with his colleague, the late artist and curator \u003ca href=\"https://americanart.si.edu/artist/ralph-maradiaga-31836\">Ralph Maradiaga\u003c/a>, he created an annual event for people to collectively mourn, celebrate and honor those who’ve passed on.\u003c/p>\n\u003cp>Over the years the exhibition has been shown at Galería de la Raza and Yerba Buena Center for the Arts, before finding its current home at SOMArts 25 years ago. Yañez worked on this show with his father every year from 2005 up until the elder passed in 2018.\u003c/p>\n\u003cp>Now through \u003ca href=\"https://somarts.org/event/weloveyouclosing/\">the exhibition’s closing reception\u003c/a>, SOMArts’ gallery will be occupied with this year’s collection of altars — pieces that \u003cspan style=\"font-weight: 400\">artists have dedicated “to parts of themselves,” says Yañez, “or their relationships to others that they are mourning.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13982607\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982607 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-2000x1333.jpg\" alt=\"A blue, red and orange art display mounted in an art gallery. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Monique D. López’s ‘Amor Eterno’ 2025 at SOMArts. \u003ccite>(Claire S Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artworks are bright, fluorescent even. There are large painted sculptures, and a small dome you can enter and read written messages of all sorts. Some are more subtle and intimate, while others oppose oppressive forces or touch on current events.\u003c/p>\n\u003cp>Many of the pieces in the exhibition are both personal and topical, like work that champions trans rights. This show, says Yañez, has always been about highlighting issues of our time.\u003c/p>\n\u003cp>Yañez recalls being a kid and seeing his father curate shows as a response to the first wave of the AIDS crisis and Operation Desert Storm. Later, the shows shed light on lives lost in Hurricane Katrina and the Pulse nightclub shooting.\u003c/p>\n\u003cp>“There’s always been a sense of urgency in how the show responds to what’s going on in the world,” says Yañez. “That is [my father’s] legacy in the show. As his son, that’s something I strive to continue.”\u003c/p>\n\u003cp>The biggest issue reflected in this year’s show, according to Yañez, is President Trump’s policies — specifically in regards to immigration, as well as anti-trans legislation. “I wish I didn’t have to say that,” Yañez says. “But that’s the reality that we’re living in.”\u003c/p>\n\u003cfigure id=\"attachment_13982663\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982663 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-2000x1333.jpg\" alt=\"An image of a colorful altar. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Liv Styler, ‘Memento (Me)mori(as),’ shown at SOMArts’ Día de Los Muertos exhibition. \u003ccite>(Claire S Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alongside colorful displays of love for people who’ve passed, artists have also created memorials to ideas that have withered, or small shrines to their future selves.\u003c/p>\n\u003cp>Just inside of the gallery stands \u003ca href=\"https://www.instagram.com/thelivstyler/\">Liv Styler\u003c/a>‘s “Memento (Me)mori(as),” a work of art that encompasses two large walls, and asks audiences to redefine their idea of familial connections. One wall shows portraits of Styler and her children, while the other wall is decorated with Monarch butterflies emerging from what she calls “a painful transition” in a fireplace and ascending skyward toward a still-life painting, then beyond.\u003c/p>\n\u003cp>The butterflies are courtesy of her Mexican heritage. Both the painting and the fireplace, centerpieces in the artwork, are creative remixes of Styler’s childhood home.\u003c/p>\n\u003cp>“We had no art,” says Styler. “We had nothing in our home. It was a very colorless, lifeless, joyless space. But there was this one ugly-ass landscape.”\u003c/p>\n\u003cfigure id=\"attachment_13982661\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982661 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-scaled.jpg\" alt=\"A close-up of a painted wall made in the image of an altar. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Liv Styler’s ‘Memento (Me)mori(as).’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Styler chose to recreate the landscape in her own way, reflecting how she\u003c/span> learned to create an “\u003cspan style=\"font-weight: 400\">internal world” that was full of the color she wasn’t feeling at home.\u003c/span>\u003c/p>\n\u003cp>“Instead of doing the horrifically boring greens and browns,” she says of the original piece, “I recreated it in the way that I wanted to see it — which looked like Lisa Frank kinda exploded all over it.”\u003c/p>\n\u003cp>Below the landscape, the fireplace in Styler’s work is lined with bricks that bear the names of some of her closest friends — artists and activists, some still living and some who have passed on, all of them chosen family.\u003c/p>\n\u003cp>“The bricks were one of the last things I did,” says Styler, charting the steps of her creative process. “It really forced me to reflect on [the chosen family] concept the whole time. Those are the people that transformed me.”\u003c/p>\n\u003cp>Styler says her work confronts the idea of blindly honoring blood-related ancestors — specifically those who might not have accepted different gender identities. She turns that on the audience as well, with the words “what generational curse are you breaking?” written as a prompt. Sticky notes and pens are available for visitors to write messages reflecting on how they’ve honored themselves, made a brave choice or broken a family curse.\u003c/p>\n\u003cp>“I really hope there’s some folks out there who walk through it and have had a similar familial experience, where they just aren’t really sure about their ancestors,” she says. For those who feel like she does, Styler says, “There’s always family out there for you. There’s always people out there who are gonna love you, and you just have to go and find them.”\u003c/p>\n\u003cp>Sometimes, she says, in order to find that chosen family, you have to go through trials and tribulations, and make changes like the butterflies in her work.\u003c/p>\n\u003cp>“And then,” she says, “as you heal and you become that new version of yourself, and that ancestor infuses into you, you find that chosen family a lot easier.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://somarts.org/exhibition/weloveyou/\">Día de Los Muertos 2025: ‘We Love You’\u003c/a> is on display now through the Nov. 7 closing reception and drag show at SOMArts (934 Brannan St., San Francisco). \u003ca href=\"https://somarts.org/event/weloveyouclosing/\">Click here for more information\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13920993/a-family-tradition-of-altar-making-as-told-by-rio-yanez\">Rio Yañez\u003c/a> and Sacramento’s \u003ca href=\"https://www.bridgettrex.com/\">Bridgétt Rex\u003c/a> began curating the 2025 Día de Los Muertos show at the San Francisco gallery and cultural center SOMArts, their mission statement was clear: Altars come in many forms. And no matter how you express your grief, you are loved.\u003c/p>\n\u003cp>“This show features artists from so many different cultural backgrounds, from so many different parts of the world,” says Yañez. “So it’s about coming together and sharing the ways in which we honor the dead.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://somarts.org/exhibition/weloveyou/\">Día de Los Muertos 2025: We Love You,\u003c/a>\u003c/em> on view now through Nov. 7, features 13 artists, all of whom are women, transgender or gender-nonconforming. Yañez says this show embodies modern interpretations, ideas and concepts of the afterlife.\u003c/p>\n\u003cp>“Being in San Francisco, we have a certain amount of leeway and freedom on how we approach this,” he adds, noting the city’s history of challenging the status quo.\u003c/p>\n\u003cfigure id=\"attachment_13982606\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982606 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-2000x1333.jpg\" alt=\"An overview of the SOMArts gallery.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">SOMArts gallery full of artwork from the ‘Día de Los Muertos 2025: We Love You’ show. \u003ccite>(Claire S Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yañez is speaking from experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His father,\u003ca href=\"https://www.kqed.org/arts/13833740/rene-yanez-revered-chicano-artist-and-gallery-founder-dies\"> René Yañez\u003c/a>, cofounder of San Francisco’s\u003ca href=\"https://galeriadelaraza.org/\"> Galería de la Raza\u003c/a>, brought the first Día de Los Muertos public art exhibition to the city in 1972. Along with his colleague, the late artist and curator \u003ca href=\"https://americanart.si.edu/artist/ralph-maradiaga-31836\">Ralph Maradiaga\u003c/a>, he created an annual event for people to collectively mourn, celebrate and honor those who’ve passed on.\u003c/p>\n\u003cp>Over the years the exhibition has been shown at Galería de la Raza and Yerba Buena Center for the Arts, before finding its current home at SOMArts 25 years ago. Yañez worked on this show with his father every year from 2005 up until the elder passed in 2018.\u003c/p>\n\u003cp>Now through \u003ca href=\"https://somarts.org/event/weloveyouclosing/\">the exhibition’s closing reception\u003c/a>, SOMArts’ gallery will be occupied with this year’s collection of altars — pieces that \u003cspan style=\"font-weight: 400\">artists have dedicated “to parts of themselves,” says Yañez, “or their relationships to others that they are mourning.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13982607\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982607 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-2000x1333.jpg\" alt=\"A blue, red and orange art display mounted in an art gallery. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Monique D. López’s ‘Amor Eterno’ 2025 at SOMArts. \u003ccite>(Claire S Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artworks are bright, fluorescent even. There are large painted sculptures, and a small dome you can enter and read written messages of all sorts. Some are more subtle and intimate, while others oppose oppressive forces or touch on current events.\u003c/p>\n\u003cp>Many of the pieces in the exhibition are both personal and topical, like work that champions trans rights. This show, says Yañez, has always been about highlighting issues of our time.\u003c/p>\n\u003cp>Yañez recalls being a kid and seeing his father curate shows as a response to the first wave of the AIDS crisis and Operation Desert Storm. Later, the shows shed light on lives lost in Hurricane Katrina and the Pulse nightclub shooting.\u003c/p>\n\u003cp>“There’s always been a sense of urgency in how the show responds to what’s going on in the world,” says Yañez. “That is [my father’s] legacy in the show. As his son, that’s something I strive to continue.”\u003c/p>\n\u003cp>The biggest issue reflected in this year’s show, according to Yañez, is President Trump’s policies — specifically in regards to immigration, as well as anti-trans legislation. “I wish I didn’t have to say that,” Yañez says. “But that’s the reality that we’re living in.”\u003c/p>\n\u003cfigure id=\"attachment_13982663\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982663 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-2000x1333.jpg\" alt=\"An image of a colorful altar. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Liv Styler, ‘Memento (Me)mori(as),’ shown at SOMArts’ Día de Los Muertos exhibition. \u003ccite>(Claire S Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alongside colorful displays of love for people who’ve passed, artists have also created memorials to ideas that have withered, or small shrines to their future selves.\u003c/p>\n\u003cp>Just inside of the gallery stands \u003ca href=\"https://www.instagram.com/thelivstyler/\">Liv Styler\u003c/a>‘s “Memento (Me)mori(as),” a work of art that encompasses two large walls, and asks audiences to redefine their idea of familial connections. One wall shows portraits of Styler and her children, while the other wall is decorated with Monarch butterflies emerging from what she calls “a painful transition” in a fireplace and ascending skyward toward a still-life painting, then beyond.\u003c/p>\n\u003cp>The butterflies are courtesy of her Mexican heritage. Both the painting and the fireplace, centerpieces in the artwork, are creative remixes of Styler’s childhood home.\u003c/p>\n\u003cp>“We had no art,” says Styler. “We had nothing in our home. It was a very colorless, lifeless, joyless space. But there was this one ugly-ass landscape.”\u003c/p>\n\u003cfigure id=\"attachment_13982661\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982661 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-scaled.jpg\" alt=\"A close-up of a painted wall made in the image of an altar. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Liv Styler’s ‘Memento (Me)mori(as).’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Styler chose to recreate the landscape in her own way, reflecting how she\u003c/span> learned to create an “\u003cspan style=\"font-weight: 400\">internal world” that was full of the color she wasn’t feeling at home.\u003c/span>\u003c/p>\n\u003cp>“Instead of doing the horrifically boring greens and browns,” she says of the original piece, “I recreated it in the way that I wanted to see it — which looked like Lisa Frank kinda exploded all over it.”\u003c/p>\n\u003cp>Below the landscape, the fireplace in Styler’s work is lined with bricks that bear the names of some of her closest friends — artists and activists, some still living and some who have passed on, all of them chosen family.\u003c/p>\n\u003cp>“The bricks were one of the last things I did,” says Styler, charting the steps of her creative process. “It really forced me to reflect on [the chosen family] concept the whole time. Those are the people that transformed me.”\u003c/p>\n\u003cp>Styler says her work confronts the idea of blindly honoring blood-related ancestors — specifically those who might not have accepted different gender identities. She turns that on the audience as well, with the words “what generational curse are you breaking?” written as a prompt. Sticky notes and pens are available for visitors to write messages reflecting on how they’ve honored themselves, made a brave choice or broken a family curse.\u003c/p>\n\u003cp>“I really hope there’s some folks out there who walk through it and have had a similar familial experience, where they just aren’t really sure about their ancestors,” she says. For those who feel like she does, Styler says, “There’s always family out there for you. There’s always people out there who are gonna love you, and you just have to go and find them.”\u003c/p>\n\u003cp>Sometimes, she says, in order to find that chosen family, you have to go through trials and tribulations, and make changes like the butterflies in her work.\u003c/p>\n\u003cp>“And then,” she says, “as you heal and you become that new version of yourself, and that ancestor infuses into you, you find that chosen family a lot easier.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://somarts.org/exhibition/weloveyou/\">Día de Los Muertos 2025: ‘We Love You’\u003c/a> is on display now through the Nov. 7 closing reception and drag show at SOMArts (934 Brannan St., San Francisco). \u003ca href=\"https://somarts.org/event/weloveyouclosing/\">Click here for more information\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every October, \u003ca href=\"https://www.fanhs-national.org/filam/filipino-american-history-month-2025\">Filipino American History Month\u003c/a> honors more than a century of Filipino presence in the United States. In the Bay Area, that legacy runs deep: Cities such as San José, Milpitas and Daly City have long served as hubs for the Filipino diaspora. San José alone is home to around 109,000 Filipino residents, making it one of the 10 largest Filipino communities in the country, according to a Pew Research Center analysis of census data.\u003c/p>\n\u003cp>So it makes sense that San José plays host to a slew of cultural events this month — such as \u003ca href=\"https://www.eventbrite.com/e/4th-annual-kababayan-drag-brunch-tickets-1762716465399\">Kababayan Drag Brunch\u003c/a>, which returns for its fourth year on Saturday, Oct. 18 at Strike Brewing Company. First organized in 2021, this drag brunch has become a South Bay fixture during Filipino American History Month, reflecting the area’s vibrant intersection of Filipino and LGBTQ+ culture.\u003c/p>\n\u003cp>Hosted by drag performers Manang and Tori Tia, the all-ages event blends Filipino food, queer artistry and community pride in an afternoon of performance. “Bring your lola (grandma), bring your auntie, and bring your parents who may be supportive of queerness but don’t usually go to nightclubs,” says Manang.\u003c/p>\n\u003cfigure id=\"attachment_13982479\" class=\"wp-caption aligncenter\" style=\"max-width: 2160px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982479\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263.jpg\" alt=\"five drag queens in colorful outfits stand on a stage under a neon sign that reads 'mama kin'\" width=\"2160\" height=\"2345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263.jpg 2160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-2000x2171.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-160x174.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-768x834.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-1415x1536.jpg 1415w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-1886x2048.jpg 1886w\" sizes=\"auto, (max-width: 2160px) 100vw, 2160px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Manang, Kashewpeia, Tala, John Feddellaga and Tori Tia at Kababayan Drag Brunch 2023. \u003ccite>(Courtesy of Manang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s show features six performers, including \u003cem>Drag Race Philippines\u003c/em> season three’s John Fedellaga, widely known online as the “Omegle Queen.” DJ Ayumi Please provides the soundtrack, while Filipino bites come courtesy of Gnosh Confections.\u003c/p>\n\u003cp>“This is a great event to bring people together to celebrate being Filipino, to have fun, to see queer joy,” adds Manang. “We hope Filipinos show up like we always do — yelling, cheering, laughing. It’s a big party for our community to celebrate the month and to celebrate queer joy, especially at a time when that is under threat.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>Kababayan Drag Brunch takes place Saturday, Oct. 18, from 1 to 4 p.m. at Strike Brewing Company & Warehouse Taproom (2099 S 10th St #30, San Jose). Free; more information \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/4th-annual-kababayan-drag-brunch-tickets-1762716465399\">\u003ci>here\u003c/i>\u003c/a>\u003ci>\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every October, \u003ca href=\"https://www.fanhs-national.org/filam/filipino-american-history-month-2025\">Filipino American History Month\u003c/a> honors more than a century of Filipino presence in the United States. In the Bay Area, that legacy runs deep: Cities such as San José, Milpitas and Daly City have long served as hubs for the Filipino diaspora. San José alone is home to around 109,000 Filipino residents, making it one of the 10 largest Filipino communities in the country, according to a Pew Research Center analysis of census data.\u003c/p>\n\u003cp>So it makes sense that San José plays host to a slew of cultural events this month — such as \u003ca href=\"https://www.eventbrite.com/e/4th-annual-kababayan-drag-brunch-tickets-1762716465399\">Kababayan Drag Brunch\u003c/a>, which returns for its fourth year on Saturday, Oct. 18 at Strike Brewing Company. First organized in 2021, this drag brunch has become a South Bay fixture during Filipino American History Month, reflecting the area’s vibrant intersection of Filipino and LGBTQ+ culture.\u003c/p>\n\u003cp>Hosted by drag performers Manang and Tori Tia, the all-ages event blends Filipino food, queer artistry and community pride in an afternoon of performance. “Bring your lola (grandma), bring your auntie, and bring your parents who may be supportive of queerness but don’t usually go to nightclubs,” says Manang.\u003c/p>\n\u003cfigure id=\"attachment_13982479\" class=\"wp-caption aligncenter\" style=\"max-width: 2160px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982479\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263.jpg\" alt=\"five drag queens in colorful outfits stand on a stage under a neon sign that reads 'mama kin'\" width=\"2160\" height=\"2345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263.jpg 2160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-2000x2171.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-160x174.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-768x834.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-1415x1536.jpg 1415w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/F26E7C14-0C46-4F54-B262-ED8AD753F263-1886x2048.jpg 1886w\" sizes=\"auto, (max-width: 2160px) 100vw, 2160px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Manang, Kashewpeia, Tala, John Feddellaga and Tori Tia at Kababayan Drag Brunch 2023. \u003ccite>(Courtesy of Manang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s show features six performers, including \u003cem>Drag Race Philippines\u003c/em> season three’s John Fedellaga, widely known online as the “Omegle Queen.” DJ Ayumi Please provides the soundtrack, while Filipino bites come courtesy of Gnosh Confections.\u003c/p>\n\u003cp>“This is a great event to bring people together to celebrate being Filipino, to have fun, to see queer joy,” adds Manang. “We hope Filipinos show up like we always do — yelling, cheering, laughing. It’s a big party for our community to celebrate the month and to celebrate queer joy, especially at a time when that is under threat.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>Kababayan Drag Brunch takes place Saturday, Oct. 18, from 1 to 4 p.m. at Strike Brewing Company & Warehouse Taproom (2099 S 10th St #30, San Jose). Free; more information \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/4th-annual-kababayan-drag-brunch-tickets-1762716465399\">\u003ci>here\u003c/i>\u003c/a>\u003ci>\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Miss Major Griffin-Gracy, a legendary activist who spent decades fighting for incarcerated \u003ca href=\"https://www.kqed.org/arts/tag/transgender\">transgender\u003c/a> people in San Francisco and beyond, has died. She was 78 years old.\u003c/p>\n\u003cp>Born in Chicago, Miss Major spent her young adulthood in New York City, where she participated in the 1969 riots against police brutality at Stonewall Inn, a flashpoint that kicked off the modern-day \u003ca href=\"https://www.kqed.org/arts/tag/lgbtq\">LGBTQ+\u003c/a> rights movement. After surviving sex work and incarceration at men’s prisons, Miss Major became a tireless advocate for trans women living on the margins due to family, job and housing discrimination.\u003c/p>\n\u003cp>[aside postID='arts_13844019']During the \u003ca href=\"https://www.kqed.org/arts/13859408/aids-activism-san-francisco-1980s\">AIDS epidemic\u003c/a> in the 1980s, as the government looked the other way, Miss Major helped organize hospice care and support systems for trans and gay people dying from the disease, including at the Tenderloin AIDS Resource Center in San Francisco. Also in San Francisco, she founded an early needle exchange program and ran support groups for trans women, dozens of whom have considered her a mother figure over the decades.\u003c/p>\n\u003cp>“We have to look out for one another because we’re all we’ve got,” Miss Major said in a documentary about her life, \u003ca href=\"https://www.kqed.org/arts/13844019/ah-mer-ah-sus-major-soundtrack-feeds-the-spirit-of-trans-resistance\">\u003cem>Major!\u003c/em>\u003c/a>, directed by San Francisco filmmaker Annalise Ophelian. “When the dust settles, I want a whole bunch of transgender girls to stand up and say, ‘I’m still fucking here.’”\u003c/p>\n\u003cfigure id=\"attachment_13844366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13844366\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer.jpg\" alt=\"\" width=\"800\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-768x996.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-375x487.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-520x675.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for a trans support group Miss Major hosted in San Francisco in the ’90s.\u003c/figcaption>\u003c/figure>\n\u003cp>In 2004, Miss Major and Alexander L. Lee co-founded the \u003ca href=\"https://tgijp.org/\">Transgender Gender-Variant Intersex Justice Project\u003c/a>, a San Francisco nonprofit that offers crucial support to currently and formerly incarcerated trans people. She served as the executive director there for 11 years before retiring in 2015. After relocating to Little Rock, Arkansas, where she spent her final days surrounded by friends and family, Miss Major founded the \u003ca href=\"https://houseofgg.org/\">House of gg\u003c/a>, a healing retreat for trans people of color.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She was a world builder, a visionary, and unwavering in her devotion to making freedom possible for Black, trans, formerly and currently incarcerated people as well as the larger trans and LGB community,” reads a \u003ca href=\"https://www.facebook.com/houseofggs/posts/pfbid08EMnrMh7An4HsagZzocRausGK4TXVSJpBWUmHDkes1nEGUGaUCrmWzDBerwCnALbl\">statement from the House of gg\u003c/a>. “Because of her, countless new possibilities have been made for all of us to thrive — today and for generations to come.”\u003c/p>\n\u003cp>Miss Major is survived by her partner Beck Witt; her sons Asaiah, Christopher, and Jonathon; her many daughters including Janetta Johnson, who now leads TGIJP; and innumerable friends and family members.\u003c/p>\n\u003cfigure id=\"attachment_13859270\" class=\"wp-caption aligncenter\" style=\"max-width: 1974px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4.jpg\" alt=\"An elated Miss Major.\" width=\"1974\" height=\"1363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4.jpg 1974w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-1200x829.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-1920x1326.jpg 1920w\" sizes=\"auto, (max-width: 1974px) 100vw, 1974px\">\u003cfigcaption class=\"wp-caption-text\">An elated Miss Major. \u003ccite>(Photo courtesy of Miss Major)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many prominent transgender artists and activists, including author and \u003ci>Pose\u003c/i> writer-director Janet Mock, consider Miss Major a role model.\u003c/p>\n\u003cp>“For decades, Miss Major — with little resources, no pay or accolades — has taken care of our sisters behind bars, our sisters working on the streets, our sisters looking for mothers,” Mock said at San Francisco Pride in 2014, when she and Miss Major both served as Grand Marshals. “She is the blueprint for our liberation and has ensured that the path I walk on, that we all walk on, is less rocky because she exists.”\u003c/p>\n\u003cp>In 2023, Miss Major and Toshio Meronek published a book about her life, \u003cem>Miss Major Speaks\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We want everyone to know her journey was filled with challenge, laughter and unshakable love,” reads a statement from TGIJP. “She stayed blessed and strong until her final breath.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During the \u003ca href=\"https://www.kqed.org/arts/13859408/aids-activism-san-francisco-1980s\">AIDS epidemic\u003c/a> in the 1980s, as the government looked the other way, Miss Major helped organize hospice care and support systems for trans and gay people dying from the disease, including at the Tenderloin AIDS Resource Center in San Francisco. Also in San Francisco, she founded an early needle exchange program and ran support groups for trans women, dozens of whom have considered her a mother figure over the decades.\u003c/p>\n\u003cp>“We have to look out for one another because we’re all we’ve got,” Miss Major said in a documentary about her life, \u003ca href=\"https://www.kqed.org/arts/13844019/ah-mer-ah-sus-major-soundtrack-feeds-the-spirit-of-trans-resistance\">\u003cem>Major!\u003c/em>\u003c/a>, directed by San Francisco filmmaker Annalise Ophelian. “When the dust settles, I want a whole bunch of transgender girls to stand up and say, ‘I’m still fucking here.’”\u003c/p>\n\u003cfigure id=\"attachment_13844366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13844366\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer.jpg\" alt=\"\" width=\"800\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-768x996.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-375x487.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-520x675.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for a trans support group Miss Major hosted in San Francisco in the ’90s.\u003c/figcaption>\u003c/figure>\n\u003cp>In 2004, Miss Major and Alexander L. Lee co-founded the \u003ca href=\"https://tgijp.org/\">Transgender Gender-Variant Intersex Justice Project\u003c/a>, a San Francisco nonprofit that offers crucial support to currently and formerly incarcerated trans people. She served as the executive director there for 11 years before retiring in 2015. After relocating to Little Rock, Arkansas, where she spent her final days surrounded by friends and family, Miss Major founded the \u003ca href=\"https://houseofgg.org/\">House of gg\u003c/a>, a healing retreat for trans people of color.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She was a world builder, a visionary, and unwavering in her devotion to making freedom possible for Black, trans, formerly and currently incarcerated people as well as the larger trans and LGB community,” reads a \u003ca href=\"https://www.facebook.com/houseofggs/posts/pfbid08EMnrMh7An4HsagZzocRausGK4TXVSJpBWUmHDkes1nEGUGaUCrmWzDBerwCnALbl\">statement from the House of gg\u003c/a>. “Because of her, countless new possibilities have been made for all of us to thrive — today and for generations to come.”\u003c/p>\n\u003cp>Miss Major is survived by her partner Beck Witt; her sons Asaiah, Christopher, and Jonathon; her many daughters including Janetta Johnson, who now leads TGIJP; and innumerable friends and family members.\u003c/p>\n\u003cfigure id=\"attachment_13859270\" class=\"wp-caption aligncenter\" style=\"max-width: 1974px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4.jpg\" alt=\"An elated Miss Major.\" width=\"1974\" height=\"1363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4.jpg 1974w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-1200x829.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-1920x1326.jpg 1920w\" sizes=\"auto, (max-width: 1974px) 100vw, 1974px\">\u003cfigcaption class=\"wp-caption-text\">An elated Miss Major. \u003ccite>(Photo courtesy of Miss Major)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many prominent transgender artists and activists, including author and \u003ci>Pose\u003c/i> writer-director Janet Mock, consider Miss Major a role model.\u003c/p>\n\u003cp>“For decades, Miss Major — with little resources, no pay or accolades — has taken care of our sisters behind bars, our sisters working on the streets, our sisters looking for mothers,” Mock said at San Francisco Pride in 2014, when she and Miss Major both served as Grand Marshals. “She is the blueprint for our liberation and has ensured that the path I walk on, that we all walk on, is less rocky because she exists.”\u003c/p>\n\u003cp>In 2023, Miss Major and Toshio Meronek published a book about her life, \u003cem>Miss Major Speaks\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We want everyone to know her journey was filled with challenge, laughter and unshakable love,” reads a statement from TGIJP. “She stayed blessed and strong until her final breath.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Queer and Proud in the Wrestling Ring",
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"content": "\u003cp>Two years ago, pro wrestler \u003ca href=\"https://www.instagram.com/rosiefingers42/\">Rosie Fingers\u003c/a> (Jetta Rae Robertson) was searching for a lifeline. Suffering from housing insecurity, the trans performer began seeing personal trainer \u003ca href=\"https://www.instagram.com/amiraissquirrel/\">Amira Lukens\u003c/a> for a half hour each week to cultivate some stability.\u003c/p>\n\u003cp>Fast-forward to early September, and the two found themselves foes, staring each other down in the wrestling ring at the nightclub Fluid510 in Uptown Oakland. At the end of their heated main event match, with Lukens on the receiving end of a short piledriver, the crowd cheered as Fingers was declared winner by the customary “1-2-3” count.\u003c/p>\n\u003cp>This was not your average pro wrestling night. Titled \u003ci>Moonlight\u003c/i>, after director Barry Jenkins’ landmark Oscar-winning queer film, the event was jointly produced by independent promotion \u003ca href=\"https://www.westcoastprowrestling.com/\">West Coast Pro Wrestling\u003c/a> and queer wrestling advocacy outfit \u003ca href=\"https://www.fullqueer.org/\">Full Queer\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13981253\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981253\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-19-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Simone White listens as the announcer encourages the crowd to take part in the show at Fluid510 in Oakland on Sept. 4, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Full Queer came to be in June 2021 with the idea of smashing the gender binary by crowning as champions those free from gender division and norms. Its mission is to celebrate queer wrestlers, fans and allies — and the parallels are easy to see between the garish outfits and in-your-face drama of pro wrestling and drag culture.\u003c/p>\n\u003cp>“I don’t think queer people were getting the opportunities they deserved” in pro wrestling, wrestler-founder Marco Mayur explained to KQED. “I don’t think women were getting the opportunities they deserved, the respect that they deserved.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mayur aimed to provide those opportunities, first by introducing the PrinceX of Pride title (currently held by performer \u003ca href=\"https://www.instagram.com/boynamedrichie/\">Richie Coy\u003c/a>). Subsequent championships built upon the idea, with the Lonestar title and the Harvey Milk and Sylvester tag team championship. Full Queer kept the momentum going with its first appearance at the Folsom Street Fair in 2022, and continues to find new ways to highlight and honor the LGBTQ+ community.\u003c/p>\n\u003cfigure id=\"attachment_13981250\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981250\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-2-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-2-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-2-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-2-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-2-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jetta, known in the ring as Rosie Fingers, puts their fists up below the wrestling ropes before an evening of Full Queer pro wrestling at Fluid510 in Oakland on Sept. 4, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981257\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981257\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-28-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-28-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-28-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-28-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-28-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Stray Dog’ Oak Holden delivers a high knee to opponent Sancho Dimera during the Full Queer Wrestling showcase at Fluid510 in Oakland on Sept. 4, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In August, its wrestlers battled in outdoor matches at the El Cerrito Library and read to kids, reminiscent of the drag story hours that have caused \u003ca href=\"https://www.kqed.org/news/11916918/sheriffs-investigating-hate-crime-after-alleged-proud-boys-disrupt-drag-queen-story-hour-with-homophobic-slurs\">right-wing hysteria\u003c/a>. The \u003ci>Moonlight\u003c/i> event in September raised funds for \u003ca href=\"https://www.oaklandtoall.com\">Oakland to All\u003c/a>, a support network for ballroom performers, who strutted along the ring ropes to kick off the show. After condoms were thrown to the crowd, the first match started – a battle royale named for \u003ca href=\"https://ragemonthly.com/glenn-burke-and-the-gay-high-five/\">Glenn Burke\u003c/a>, the former Oakland A’s outfielder and first MLB athlete to come out as gay.\u003c/p>\n\u003cp>“They call [professional wrestling] ‘the business,’ but I’ve always said Full Queer is not in the business, we’re in the movement” for LGBQT+ rights, said Fingers, who is also Full Queer’s co-promoter. “We always try to think of how to utilize wrestling in a way that benefits and serves the movement.”\u003c/p>\n\u003cp>The fact is that pro wrestling has always been queer (look no further than pioneering television character \u003ca href=\"https://vault.si.com/vault/1969/03/17/george-was-villainous-gutsy-and-gorgeous\">“Gorgeous” George\u003c/a>). But the industry has largely been run by straight men (notably, \u003ca href=\"https://en.wikipedia.org/wiki/Vince_McMahon_sex_trafficking_scandal\">alleged sex trafficker Vince McMahon\u003c/a>), who have programmed insensitive or\u003ca href=\"https://www.outsports.com/2013/3/4/4064614/glaad-we-were-lied-to-2/\"> outright homophobic storylines\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13981259\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981259\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-31-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-31-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-31-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-31-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-31-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mad Dog Connolly storms past the crowd wielding a chain as a referee follows during the Full Queer Wrestling event at Fluid510 in Oakland on Sept. 4, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981252\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981252\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richie Coy, the reigning PrinceX of Pride Champion, poses at Fluid510 in Oakland on Sept. 4, 2025, ahead of defending their title in the ring. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The independent boom of the 2010s brought more voices into the arena, both live and online. Those include the long-running Oakland institution\u003ca href=\"https://www.instagram.com/hoodslam/?hl=en\"> Hoodslam\u003c/a> promoted by trans performer \u003ca href=\"https://www.instagram.com/darksheikftf/?hl=en\">Dark Sheik\u003c/a>, and other performer-promoters like indie sensation \u003ca href=\"https://www.instagram.com/effylives/\">Effy\u003c/a>. At the global level, WWE’s well-monied rival \u003ca href=\"https://www.pride.com/culture/sports/lgbtq-women-aew-wrestlers\">All Elite Wrestling\u003c/a> promoted trans wrestler \u003ca href=\"https://www.instagram.com/nylarosebeast/\">Nyla Rose\u003c/a> as its women’s champion, as well as queer stars such as champions \u003ca href=\"https://www.instagram.com/tonistorm_/\">“Timeless” Toni Storm\u003c/a> and \u003ca href=\"https://www.instagram.com/bowens_official/?hl=en\">Anthony Bowens\u003c/a> and fan favorite \u003ca href=\"https://www.instagram.com/willowwrestles/\">Willow Nightingale\u003c/a>.\u003c/p>\n\u003cp>For undercard wrestler\u003ca href=\"https://www.instagram.com/jessreinacapablanca/\"> Jess Reina Capablanca\u003c/a> (Domino Moon), being a trans performer center stage invites viewers — who even in 2025 may never have met a trans person — to see trans people as stars and equals, who deserve their place just like anyone else.\u003c/p>\n\u003cp>“It was pretty obvious, on a top-down systemic level, that the ‘top’ of the mountain peak [in pro wrestling] was a really fucked up place, and a place I don’t particularly care to be,” said Capablanca. “But then when I found Full Queer, I realized there’s actually a home for me in this scene, in this world, not just a place where I can work.”\u003c/p>\n\u003cfigure id=\"attachment_13981251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981251\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-5-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-5-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-5-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-5-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-5-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jack Lowery, better known as Jackie Orange, checks his watch before stepping out to emcee a Full Queer wrestling showcase at Fluid510 in Oakland on Sept. 4, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/jackieloveshisorange/\">As announcer Jackie Orange\u003c/a>, Jack Lowery’s job on the mic is to add context to the wrestlers putting their bodies on the line to entertain. “We’re going after the queer community to tell them, ‘Hey, \u003ci>Drag Race\u003c/i> and wrestling is pretty much the same thing,’” he said, “‘and I think you would really like this.’”\u003c/p>\n\u003cp>Rooting for or jeering wrestlers is part of the fun of pro wrestling events. But Full Queer cultivates an environment where crucially, that energy is focused toward the wrestler’s character in the storyline — not attacking the performer for who they are in real life.\u003c/p>\n\u003cp>“Punk is letting the world kick you down but getting back up over and over. It’s the same with drag. It’s the same with wrestling,” said Fingers. “All of that art has aesthetic differences on the surface, but they’re all about refusing to stay down.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Full Queer returns to the \u003c/i>\u003ca href=\"https://www.folsomstreet.org\">\u003ci>Folsom Street Fair\u003c/i>\u003c/a>\u003ci> in San Francisco on Sunday, Sept. 28, and hosts a day of wrestling at \u003c/i>\u003ca href=\"https://petalumapride.org\">\u003ci>Petaluma\u003c/i>\u003c/a>\u003ca href=\"https://petalumapride.org/\">\u003ci> Pride\u003c/i>\u003c/a>\u003ci> in Petaluma on Saturday, Oct. 11. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two years ago, pro wrestler \u003ca href=\"https://www.instagram.com/rosiefingers42/\">Rosie Fingers\u003c/a> (Jetta Rae Robertson) was searching for a lifeline. Suffering from housing insecurity, the trans performer began seeing personal trainer \u003ca href=\"https://www.instagram.com/amiraissquirrel/\">Amira Lukens\u003c/a> for a half hour each week to cultivate some stability.\u003c/p>\n\u003cp>Fast-forward to early September, and the two found themselves foes, staring each other down in the wrestling ring at the nightclub Fluid510 in Uptown Oakland. At the end of their heated main event match, with Lukens on the receiving end of a short piledriver, the crowd cheered as Fingers was declared winner by the customary “1-2-3” count.\u003c/p>\n\u003cp>This was not your average pro wrestling night. Titled \u003ci>Moonlight\u003c/i>, after director Barry Jenkins’ landmark Oscar-winning queer film, the event was jointly produced by independent promotion \u003ca href=\"https://www.westcoastprowrestling.com/\">West Coast Pro Wrestling\u003c/a> and queer wrestling advocacy outfit \u003ca href=\"https://www.fullqueer.org/\">Full Queer\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13981253\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981253\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-19-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Simone White listens as the announcer encourages the crowd to take part in the show at Fluid510 in Oakland on Sept. 4, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Full Queer came to be in June 2021 with the idea of smashing the gender binary by crowning as champions those free from gender division and norms. Its mission is to celebrate queer wrestlers, fans and allies — and the parallels are easy to see between the garish outfits and in-your-face drama of pro wrestling and drag culture.\u003c/p>\n\u003cp>“I don’t think queer people were getting the opportunities they deserved” in pro wrestling, wrestler-founder Marco Mayur explained to KQED. “I don’t think women were getting the opportunities they deserved, the respect that they deserved.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mayur aimed to provide those opportunities, first by introducing the PrinceX of Pride title (currently held by performer \u003ca href=\"https://www.instagram.com/boynamedrichie/\">Richie Coy\u003c/a>). Subsequent championships built upon the idea, with the Lonestar title and the Harvey Milk and Sylvester tag team championship. Full Queer kept the momentum going with its first appearance at the Folsom Street Fair in 2022, and continues to find new ways to highlight and honor the LGBTQ+ community.\u003c/p>\n\u003cfigure id=\"attachment_13981250\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981250\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-2-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-2-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-2-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-2-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-2-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jetta, known in the ring as Rosie Fingers, puts their fists up below the wrestling ropes before an evening of Full Queer pro wrestling at Fluid510 in Oakland on Sept. 4, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981257\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981257\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-28-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-28-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-28-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-28-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-28-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Stray Dog’ Oak Holden delivers a high knee to opponent Sancho Dimera during the Full Queer Wrestling showcase at Fluid510 in Oakland on Sept. 4, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In August, its wrestlers battled in outdoor matches at the El Cerrito Library and read to kids, reminiscent of the drag story hours that have caused \u003ca href=\"https://www.kqed.org/news/11916918/sheriffs-investigating-hate-crime-after-alleged-proud-boys-disrupt-drag-queen-story-hour-with-homophobic-slurs\">right-wing hysteria\u003c/a>. The \u003ci>Moonlight\u003c/i> event in September raised funds for \u003ca href=\"https://www.oaklandtoall.com\">Oakland to All\u003c/a>, a support network for ballroom performers, who strutted along the ring ropes to kick off the show. After condoms were thrown to the crowd, the first match started – a battle royale named for \u003ca href=\"https://ragemonthly.com/glenn-burke-and-the-gay-high-five/\">Glenn Burke\u003c/a>, the former Oakland A’s outfielder and first MLB athlete to come out as gay.\u003c/p>\n\u003cp>“They call [professional wrestling] ‘the business,’ but I’ve always said Full Queer is not in the business, we’re in the movement” for LGBQT+ rights, said Fingers, who is also Full Queer’s co-promoter. “We always try to think of how to utilize wrestling in a way that benefits and serves the movement.”\u003c/p>\n\u003cp>The fact is that pro wrestling has always been queer (look no further than pioneering television character \u003ca href=\"https://vault.si.com/vault/1969/03/17/george-was-villainous-gutsy-and-gorgeous\">“Gorgeous” George\u003c/a>). But the industry has largely been run by straight men (notably, \u003ca href=\"https://en.wikipedia.org/wiki/Vince_McMahon_sex_trafficking_scandal\">alleged sex trafficker Vince McMahon\u003c/a>), who have programmed insensitive or\u003ca href=\"https://www.outsports.com/2013/3/4/4064614/glaad-we-were-lied-to-2/\"> outright homophobic storylines\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13981259\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981259\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-31-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-31-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-31-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-31-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-31-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mad Dog Connolly storms past the crowd wielding a chain as a referee follows during the Full Queer Wrestling event at Fluid510 in Oakland on Sept. 4, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981252\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981252\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richie Coy, the reigning PrinceX of Pride Champion, poses at Fluid510 in Oakland on Sept. 4, 2025, ahead of defending their title in the ring. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The independent boom of the 2010s brought more voices into the arena, both live and online. Those include the long-running Oakland institution\u003ca href=\"https://www.instagram.com/hoodslam/?hl=en\"> Hoodslam\u003c/a> promoted by trans performer \u003ca href=\"https://www.instagram.com/darksheikftf/?hl=en\">Dark Sheik\u003c/a>, and other performer-promoters like indie sensation \u003ca href=\"https://www.instagram.com/effylives/\">Effy\u003c/a>. At the global level, WWE’s well-monied rival \u003ca href=\"https://www.pride.com/culture/sports/lgbtq-women-aew-wrestlers\">All Elite Wrestling\u003c/a> promoted trans wrestler \u003ca href=\"https://www.instagram.com/nylarosebeast/\">Nyla Rose\u003c/a> as its women’s champion, as well as queer stars such as champions \u003ca href=\"https://www.instagram.com/tonistorm_/\">“Timeless” Toni Storm\u003c/a> and \u003ca href=\"https://www.instagram.com/bowens_official/?hl=en\">Anthony Bowens\u003c/a> and fan favorite \u003ca href=\"https://www.instagram.com/willowwrestles/\">Willow Nightingale\u003c/a>.\u003c/p>\n\u003cp>For undercard wrestler\u003ca href=\"https://www.instagram.com/jessreinacapablanca/\"> Jess Reina Capablanca\u003c/a> (Domino Moon), being a trans performer center stage invites viewers — who even in 2025 may never have met a trans person — to see trans people as stars and equals, who deserve their place just like anyone else.\u003c/p>\n\u003cp>“It was pretty obvious, on a top-down systemic level, that the ‘top’ of the mountain peak [in pro wrestling] was a really fucked up place, and a place I don’t particularly care to be,” said Capablanca. “But then when I found Full Queer, I realized there’s actually a home for me in this scene, in this world, not just a place where I can work.”\u003c/p>\n\u003cfigure id=\"attachment_13981251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981251\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-5-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-5-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-5-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-5-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250904_FULLQUEER_GH-5-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jack Lowery, better known as Jackie Orange, checks his watch before stepping out to emcee a Full Queer wrestling showcase at Fluid510 in Oakland on Sept. 4, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/jackieloveshisorange/\">As announcer Jackie Orange\u003c/a>, Jack Lowery’s job on the mic is to add context to the wrestlers putting their bodies on the line to entertain. “We’re going after the queer community to tell them, ‘Hey, \u003ci>Drag Race\u003c/i> and wrestling is pretty much the same thing,’” he said, “‘and I think you would really like this.’”\u003c/p>\n\u003cp>Rooting for or jeering wrestlers is part of the fun of pro wrestling events. But Full Queer cultivates an environment where crucially, that energy is focused toward the wrestler’s character in the storyline — not attacking the performer for who they are in real life.\u003c/p>\n\u003cp>“Punk is letting the world kick you down but getting back up over and over. It’s the same with drag. It’s the same with wrestling,” said Fingers. “All of that art has aesthetic differences on the surface, but they’re all about refusing to stay down.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Full Queer returns to the \u003c/i>\u003ca href=\"https://www.folsomstreet.org\">\u003ci>Folsom Street Fair\u003c/i>\u003c/a>\u003ci> in San Francisco on Sunday, Sept. 28, and hosts a day of wrestling at \u003c/i>\u003ca href=\"https://petalumapride.org\">\u003ci>Petaluma\u003c/i>\u003c/a>\u003ca href=\"https://petalumapride.org/\">\u003ci> Pride\u003c/i>\u003c/a>\u003ci> in Petaluma on Saturday, Oct. 11. \u003c/i>\u003c/p>\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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"tagline": "Deeply-reported investigative journalism",
"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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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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},
"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
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