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"content": "\u003cp>The last time I visited \u003ca href=\"https://www.studsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the Stud\u003c/a>, San Francisco’s oldest gay bar, the surrealist drag collective Toxic Waste Face performed as an unhinged teen pop group. Jillian Gnarling lip-synced to a baby-voiced ’60s girl-group song in body horror makeup that made half of her face look like it was rotten.\u003c/p>\n\u003cp>The time before that, partygoers casually drank around a man splayed out on the pool table in white briefs, his mouth held open with a lip retractor while another performer did diabolical dental work on him. The tableau oozed with bloody-looking prop goo.\u003c/p>\n\u003cp>Had I known these would be my last visits to the Stud, I might have thrown even more dollar bills at the stage. But because of the coronavirus pandemic, the Stud’s 17-person ownership collective announced yesterday they’d decided to shut the bar down; they are moving out of their South of Market location on May 31.\u003c/p>\n\u003cp>In a city like San Francisco, where LGBTQ+ people are represented in local government and corporate boardrooms alike, the Stud is a home for those who aren’t accepted by the mainstream. Though stars like Sylvester, Etta James and Lady Gaga have graced its glitter-spangled stage over the years, it is best known as a safe haven for the community’s radicals, outsiders and scrappy artists.\u003c/p>\n\u003cp>The Stud has been that way since its inception in the ’60s. It was one of San Francisco’s first gay bars that was hospitable to women; it nurtured various countercultures, including hippies and punks, through the decades. The bar has undergone some drastic changes in its 55-year history, but this feels different. Before, people could gather to weather those moments together in person. This time, we are forced to mourn through our computer screens. On May 31, there will be a virtual funeral for the Stud on its \u003ca href=\"https://www.twitch.tv/dragalive\" target=\"_blank\" rel=\"noopener noreferrer\">Twitch channel\u003c/a>, with performances by drag celebrities including Jinx Monsoon, Alaska, Heklina, \u003ca href=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!\u003c/a> and Peaches Christ.\u003c/p>\n\u003cfigure id=\"attachment_13880900\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/IMG_4483-800x450.jpg\" alt=\"Two drag queens wear inflatable, sparkly costumes an colorful wigs on stage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_4483-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_4483-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_4483-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_4483-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_4483.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toxic Waste Face performs at the Stud in 2018. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The shelter-in-place policies—which we fully agree with and support, because science is very real and very cool—we have not been able to draw an income like many bars and many restaurants across the nation,” said Stud co-owner VivvyAnne Forevermore in a press conference. “This has made it impossible to keep up with the bills that we have, even being an empty building. It was not an easy decision.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a deep loss for us,” Forevermore continued, adding that the Stud has been in its current building since 1987. “It has survived the AIDS epidemic. And now it’s the COVID pandemic that’s forcing us to close.”\u003c/p>\n\u003cp>The Stud collective will continue on with \u003ca href=\"https://www.twitch.tv/dragalive\" target=\"_blank\" rel=\"noopener noreferrer\">virtual parties\u003c/a> until in-person gatherings are safe again, and there are plans to buy a building and reopen once the pandemic passes. Funding, however, remains a major challenge: a permanent home will likely cost the collective around a million dollars. State Senator Scott Wiener and San Francisco Supervisor Matt Haney pledged to rally support in Sacramento and City Hall at a press conference announcing the closure today, but a concrete plan for reopening is still far off as the Bay Area’s nightlife industry hangs in limbo.\u003c/p>\n\u003cfigure id=\"attachment_13880908\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg\" alt=\"\" width=\"720\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float--160x115.jpg 160w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The Stud’s first Pride float in 1974. \u003ccite>(Courtesy of The Stud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The temporary closure of the Stud, and its uncertain future, is another blow for the Bay Area’s queer community, which has seen numerous historic establishments disappear in recent years due to exorbitant rents. Latinx gay bar Esta Noche shuttered due to the cost of doing business in a gentrified Mission District; so did the Lexington, the last lesbian bar in a city once full of them.\u003c/p>\n\u003cp>The Stud almost closed in 2016 but was saved by the 17 nightlife professionals who bought it collectively and gave it new life, including activist and drag queen Honey Mahogany and 48 Hills publisher and editor \u003ca href=\"https://48hills.org/2020/05/the-stud-closes-its-location-in-order-to-save-itself-for-the-future/\" target=\"_blank\" rel=\"noopener noreferrer\">Marke Bieschke\u003c/a>. Prior to COVID-19, it was already operating on razor-thin margins. Remaining open would mean accruing hundreds of thousands of dollars in debt until the threat of the pandemic passed. The owners had to make a tough call.\u003c/p>\n\u003cfigure id=\"attachment_13880909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880909\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Stud-Bar-1980s-800x612.jpg\" alt=\"\" width=\"800\" height=\"612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stud-Bar-1980s-800x612.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stud-Bar-1980s-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stud-Bar-1980s-768x587.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stud-Bar-1980s.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Club kid Adrian Craig and friends at the Stud in 1985. \u003ccite>(Courtesy of The Stud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While temporary closures of nightlife venues are absolutely necessary for public health, the lack of safety nets available to them and their workers puts small business owners in impossible financial predicaments. Across the bridge in Oakland, punk bar the Stork Club and underground music venue Spirithaus have \u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13880741/oakland-venues-stork-club-spirithaus-shutter-due-to-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">decided to shutter\u003c/a> in recent weeks with the hope of reopening in new locations later. It’s understandable, but also tragic to think about how far the Bay Area’s cultural institutions will be eroded when this is over, and how much power will be given over to corporations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are certainly not done and we are going to keep fighting until we find a new space,” said general manager and co-owner Rachel Ryan. “But this is our time for all of us to mourn that weird, smelly, strange building that so many of us have found a home in.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last time I visited \u003ca href=\"https://www.studsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the Stud\u003c/a>, San Francisco’s oldest gay bar, the surrealist drag collective Toxic Waste Face performed as an unhinged teen pop group. Jillian Gnarling lip-synced to a baby-voiced ’60s girl-group song in body horror makeup that made half of her face look like it was rotten.\u003c/p>\n\u003cp>The time before that, partygoers casually drank around a man splayed out on the pool table in white briefs, his mouth held open with a lip retractor while another performer did diabolical dental work on him. The tableau oozed with bloody-looking prop goo.\u003c/p>\n\u003cp>Had I known these would be my last visits to the Stud, I might have thrown even more dollar bills at the stage. But because of the coronavirus pandemic, the Stud’s 17-person ownership collective announced yesterday they’d decided to shut the bar down; they are moving out of their South of Market location on May 31.\u003c/p>\n\u003cp>In a city like San Francisco, where LGBTQ+ people are represented in local government and corporate boardrooms alike, the Stud is a home for those who aren’t accepted by the mainstream. Though stars like Sylvester, Etta James and Lady Gaga have graced its glitter-spangled stage over the years, it is best known as a safe haven for the community’s radicals, outsiders and scrappy artists.\u003c/p>\n\u003cp>The Stud has been that way since its inception in the ’60s. It was one of San Francisco’s first gay bars that was hospitable to women; it nurtured various countercultures, including hippies and punks, through the decades. The bar has undergone some drastic changes in its 55-year history, but this feels different. Before, people could gather to weather those moments together in person. This time, we are forced to mourn through our computer screens. On May 31, there will be a virtual funeral for the Stud on its \u003ca href=\"https://www.twitch.tv/dragalive\" target=\"_blank\" rel=\"noopener noreferrer\">Twitch channel\u003c/a>, with performances by drag celebrities including Jinx Monsoon, Alaska, Heklina, \u003ca href=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!\u003c/a> and Peaches Christ.\u003c/p>\n\u003cfigure id=\"attachment_13880900\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/IMG_4483-800x450.jpg\" alt=\"Two drag queens wear inflatable, sparkly costumes an colorful wigs on stage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_4483-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_4483-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_4483-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_4483-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_4483.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toxic Waste Face performs at the Stud in 2018. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The shelter-in-place policies—which we fully agree with and support, because science is very real and very cool—we have not been able to draw an income like many bars and many restaurants across the nation,” said Stud co-owner VivvyAnne Forevermore in a press conference. “This has made it impossible to keep up with the bills that we have, even being an empty building. It was not an easy decision.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a deep loss for us,” Forevermore continued, adding that the Stud has been in its current building since 1987. “It has survived the AIDS epidemic. And now it’s the COVID pandemic that’s forcing us to close.”\u003c/p>\n\u003cp>The Stud collective will continue on with \u003ca href=\"https://www.twitch.tv/dragalive\" target=\"_blank\" rel=\"noopener noreferrer\">virtual parties\u003c/a> until in-person gatherings are safe again, and there are plans to buy a building and reopen once the pandemic passes. Funding, however, remains a major challenge: a permanent home will likely cost the collective around a million dollars. State Senator Scott Wiener and San Francisco Supervisor Matt Haney pledged to rally support in Sacramento and City Hall at a press conference announcing the closure today, but a concrete plan for reopening is still far off as the Bay Area’s nightlife industry hangs in limbo.\u003c/p>\n\u003cfigure id=\"attachment_13880908\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg\" alt=\"\" width=\"720\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float--160x115.jpg 160w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The Stud’s first Pride float in 1974. \u003ccite>(Courtesy of The Stud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The temporary closure of the Stud, and its uncertain future, is another blow for the Bay Area’s queer community, which has seen numerous historic establishments disappear in recent years due to exorbitant rents. Latinx gay bar Esta Noche shuttered due to the cost of doing business in a gentrified Mission District; so did the Lexington, the last lesbian bar in a city once full of them.\u003c/p>\n\u003cp>The Stud almost closed in 2016 but was saved by the 17 nightlife professionals who bought it collectively and gave it new life, including activist and drag queen Honey Mahogany and 48 Hills publisher and editor \u003ca href=\"https://48hills.org/2020/05/the-stud-closes-its-location-in-order-to-save-itself-for-the-future/\" target=\"_blank\" rel=\"noopener noreferrer\">Marke Bieschke\u003c/a>. Prior to COVID-19, it was already operating on razor-thin margins. Remaining open would mean accruing hundreds of thousands of dollars in debt until the threat of the pandemic passed. The owners had to make a tough call.\u003c/p>\n\u003cfigure id=\"attachment_13880909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880909\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Stud-Bar-1980s-800x612.jpg\" alt=\"\" width=\"800\" height=\"612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stud-Bar-1980s-800x612.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stud-Bar-1980s-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stud-Bar-1980s-768x587.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stud-Bar-1980s.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Club kid Adrian Craig and friends at the Stud in 1985. \u003ccite>(Courtesy of The Stud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While temporary closures of nightlife venues are absolutely necessary for public health, the lack of safety nets available to them and their workers puts small business owners in impossible financial predicaments. Across the bridge in Oakland, punk bar the Stork Club and underground music venue Spirithaus have \u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13880741/oakland-venues-stork-club-spirithaus-shutter-due-to-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">decided to shutter\u003c/a> in recent weeks with the hope of reopening in new locations later. It’s understandable, but also tragic to think about how far the Bay Area’s cultural institutions will be eroded when this is over, and how much power will be given over to corporations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are certainly not done and we are going to keep fighting until we find a new space,” said general manager and co-owner Rachel Ryan. “But this is our time for all of us to mourn that weird, smelly, strange building that so many of us have found a home in.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Like many kids in the 1980s, I grew up learning how to accept whom I was by watching \u003cem>Mister Rogers’ Neighborhood\u003c/em>.\u003c/p>\n\u003cp>I remember it all: the trolley, the fish tank, the cardigans, the ritual changing of the shoes. Then there were the people who made the show so memorable: Mister Rogers, Lady Aberlin, Mr. McFeely and, of course, Officer Clemmons.\u003c/p>\n\u003cfigure id=\"attachment_13879709\" class=\"wp-caption alignright\" style=\"max-width: 296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879709\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM.png\" alt=\"‘Officer Clemmons: More Than a Song,’ by François S. Clemmons\" width=\"296\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM.png 296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM-160x243.png 160w\" sizes=\"auto, (max-width: 296px) 100vw, 296px\">\u003cfigcaption class=\"wp-caption-text\">‘Officer Clemmons: More Than a Song,’ by François S. Clemmons\u003c/figcaption>\u003c/figure>\n\u003cp>Now we have an occasion to talk about the man behind Officer Clemmons—Dr. François S. Clemmons—whose ambition, artistry, pain and struggle informed the character. I admit I was a little wary of reviewing \u003cem>Officer Clemmons: A Memoir\u003c/em> at first—because if I didn’t like it, I would be professionally obligated to say so. Then I would have to pan a book by a man who played an important role in a children’s program central to my childhood—and, well, I didn’t want to be that guy.\u003c/p>\n\u003cp>The good news is that it’s quite a good book, full of resonant moments and artistic insights, with only a few overly explanatory passages. Clemmons’ memoir is often disarming in its intimacy and honesty. He vividly recalls his struggle with his homosexuality and his surviving of frequent racism—in some of the book’s most affecting and powerful moments—as well as his noteworthy career ascent in musical performance.\u003c/p>\n\u003cp>He also lays out why and how he set out to write his memoir in the first place. Of all the writing on Fred Rogers, he notes, none of it was written by a “black, gay, ordained person of the theater” who had spent decades working with arguably the most famous and highly regarded person in children’s programming. “Our relationship,” Clemmons writes, “was sustained, intense, and elbow-to-elbow. For me, you [Rogers] fulfilled the role of mentor, fan, and surrogate father.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Clemmons was born in the rural South and, as a boy, moved with his family to Youngstown, Ohio. From childhood to adolescence, pain, racism, and homophobia were regular obstacles in Clemmons’ life. Yet the imagination and dedication to art he cultivated early in his life set him on a path forward. He steadily made progress toward his musical goals by leaving, for him, the stifling grimness of Youngstown and opening a new chapter of his life at the highly regarded conservatory at Oberlin College.\u003c/p>\n\u003cp>Then he met Fred Rogers, while pursuing graduate studies in music at Carnegie Mellon and singing at Third Presbyterian Church in Pittsburgh. He writes:\u003c/p>\n\u003cblockquote>\u003cp>“My clearest memory of that occasion was of Fred Rogers’s sincerity and the deep look, bordering on passion, in his gentle blue eyes. He nailed me when he took my hand, turned his head slightly, and paused, as though he was waiting for me to say something. I waited too, because it was he who had come over to talk to me. He took his time and spoke of my lovely voice, my compelling interpretations, and the genuine effect the songs had had on him during the service. I smiled and returned his warmth and sincerity. It was easy to accept his praise. There was something serious yet comforting and disarming about him. His eyes hugged me without touching me.”\u003c/p>\u003c/blockquote>\n\u003cp>Even though Rogers had an undeniably unique way of distilling complex emotions into humanistic balm, his relationship with Clemmons couldn’t help but be a little complicated. Clemmons, for instance, expressed reservations about performing in the role of a police officer, given the levels of historical distrust African Americans have rightly felt for many in law enforcement. Clemmons also recounts a time Rogers, out of concern for the public viability of his show and Clemmons’ career during a time prior to broader LGTBQ acceptance, encouraged Clemmons to consider staying in the closet and maybe even marrying a woman. He writes that Rogers told him:\u003c/p>\n\u003cblockquote>\u003cp>“I want you to know Franç, that if you’re gay, it doesn’t matter to me at all. Whatever you say and do is fine with me, but if you’re going to be on the show as an important member of \u003cem>The Neighborhood\u003c/em>, you can’t be out as gay…I wish it were different, but you can’t have it both ways. Not now anyway. Talent can give you so much in this life, but that sexuality thing can take it all away.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s a complicated situation, but it’s even more distressing and tragic to consider it from Clemmons’ perspective.\u003c/p>\n\u003cp>But even after he moved to New York City in pursuit of opera, Clemmons still flew back to Pittsburgh to film episodes of the show, owing to a feeling of dedication to Fred Rogers and his mission. He shared Rogers’ seriousness of purpose, his commitment to producing something meaningful for the personal and spiritual enrichment of others. And his trust in Rogers’ mentorship grew slowly over time. “I found it hard to believe,” he writes, “that a white man would make that kind of deep commitment to a black man like myself. It was like a lifetime commitment to me… Mentorship was for life in my humble opinion, and that was Fred.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bWUCowuKS40\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To so many, Dr. François S. Clemmons was Officer Clemmons from \u003cem>Mister Rogers’ Neighborhood\u003c/em>—a place where make-believe was about building self-knowledge through love, patience, and the embrace of every person’s uniquely vulnerable humanity. But the show wasn’t Clemmons’ story—this memoir is. In the book, he doesn’t ask you to be his neighbor, but rather just to hear his story: One of a man of profound strength and talent who stood up, sang out, and, after great struggle, was heard.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Officer+Clemmons%2C+Mister+Rogers%27+Neighborhood+Policeman+Pal%2C+Tells+His+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like many kids in the 1980s, I grew up learning how to accept whom I was by watching \u003cem>Mister Rogers’ Neighborhood\u003c/em>.\u003c/p>\n\u003cp>I remember it all: the trolley, the fish tank, the cardigans, the ritual changing of the shoes. Then there were the people who made the show so memorable: Mister Rogers, Lady Aberlin, Mr. McFeely and, of course, Officer Clemmons.\u003c/p>\n\u003cfigure id=\"attachment_13879709\" class=\"wp-caption alignright\" style=\"max-width: 296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879709\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM.png\" alt=\"‘Officer Clemmons: More Than a Song,’ by François S. Clemmons\" width=\"296\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM.png 296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM-160x243.png 160w\" sizes=\"auto, (max-width: 296px) 100vw, 296px\">\u003cfigcaption class=\"wp-caption-text\">‘Officer Clemmons: More Than a Song,’ by François S. Clemmons\u003c/figcaption>\u003c/figure>\n\u003cp>Now we have an occasion to talk about the man behind Officer Clemmons—Dr. François S. Clemmons—whose ambition, artistry, pain and struggle informed the character. I admit I was a little wary of reviewing \u003cem>Officer Clemmons: A Memoir\u003c/em> at first—because if I didn’t like it, I would be professionally obligated to say so. Then I would have to pan a book by a man who played an important role in a children’s program central to my childhood—and, well, I didn’t want to be that guy.\u003c/p>\n\u003cp>The good news is that it’s quite a good book, full of resonant moments and artistic insights, with only a few overly explanatory passages. Clemmons’ memoir is often disarming in its intimacy and honesty. He vividly recalls his struggle with his homosexuality and his surviving of frequent racism—in some of the book’s most affecting and powerful moments—as well as his noteworthy career ascent in musical performance.\u003c/p>\n\u003cp>He also lays out why and how he set out to write his memoir in the first place. Of all the writing on Fred Rogers, he notes, none of it was written by a “black, gay, ordained person of the theater” who had spent decades working with arguably the most famous and highly regarded person in children’s programming. “Our relationship,” Clemmons writes, “was sustained, intense, and elbow-to-elbow. For me, you [Rogers] fulfilled the role of mentor, fan, and surrogate father.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clemmons was born in the rural South and, as a boy, moved with his family to Youngstown, Ohio. From childhood to adolescence, pain, racism, and homophobia were regular obstacles in Clemmons’ life. Yet the imagination and dedication to art he cultivated early in his life set him on a path forward. He steadily made progress toward his musical goals by leaving, for him, the stifling grimness of Youngstown and opening a new chapter of his life at the highly regarded conservatory at Oberlin College.\u003c/p>\n\u003cp>Then he met Fred Rogers, while pursuing graduate studies in music at Carnegie Mellon and singing at Third Presbyterian Church in Pittsburgh. He writes:\u003c/p>\n\u003cblockquote>\u003cp>“My clearest memory of that occasion was of Fred Rogers’s sincerity and the deep look, bordering on passion, in his gentle blue eyes. He nailed me when he took my hand, turned his head slightly, and paused, as though he was waiting for me to say something. I waited too, because it was he who had come over to talk to me. He took his time and spoke of my lovely voice, my compelling interpretations, and the genuine effect the songs had had on him during the service. I smiled and returned his warmth and sincerity. It was easy to accept his praise. There was something serious yet comforting and disarming about him. His eyes hugged me without touching me.”\u003c/p>\u003c/blockquote>\n\u003cp>Even though Rogers had an undeniably unique way of distilling complex emotions into humanistic balm, his relationship with Clemmons couldn’t help but be a little complicated. Clemmons, for instance, expressed reservations about performing in the role of a police officer, given the levels of historical distrust African Americans have rightly felt for many in law enforcement. Clemmons also recounts a time Rogers, out of concern for the public viability of his show and Clemmons’ career during a time prior to broader LGTBQ acceptance, encouraged Clemmons to consider staying in the closet and maybe even marrying a woman. He writes that Rogers told him:\u003c/p>\n\u003cblockquote>\u003cp>“I want you to know Franç, that if you’re gay, it doesn’t matter to me at all. Whatever you say and do is fine with me, but if you’re going to be on the show as an important member of \u003cem>The Neighborhood\u003c/em>, you can’t be out as gay…I wish it were different, but you can’t have it both ways. Not now anyway. Talent can give you so much in this life, but that sexuality thing can take it all away.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s a complicated situation, but it’s even more distressing and tragic to consider it from Clemmons’ perspective.\u003c/p>\n\u003cp>But even after he moved to New York City in pursuit of opera, Clemmons still flew back to Pittsburgh to film episodes of the show, owing to a feeling of dedication to Fred Rogers and his mission. He shared Rogers’ seriousness of purpose, his commitment to producing something meaningful for the personal and spiritual enrichment of others. And his trust in Rogers’ mentorship grew slowly over time. “I found it hard to believe,” he writes, “that a white man would make that kind of deep commitment to a black man like myself. It was like a lifetime commitment to me… Mentorship was for life in my humble opinion, and that was Fred.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bWUCowuKS40'\n title='//www.youtube.com/embed/bWUCowuKS40'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>To so many, Dr. François S. Clemmons was Officer Clemmons from \u003cem>Mister Rogers’ Neighborhood\u003c/em>—a place where make-believe was about building self-knowledge through love, patience, and the embrace of every person’s uniquely vulnerable humanity. But the show wasn’t Clemmons’ story—this memoir is. In the book, he doesn’t ask you to be his neighbor, but rather just to hear his story: One of a man of profound strength and talent who stood up, sang out, and, after great struggle, was heard.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Officer+Clemmons%2C+Mister+Rogers%27+Neighborhood+Policeman+Pal%2C+Tells+His+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What does it mean to be a woman who had a boyhood? That’s the question LGBTQ activist Jennifer Finney Boylan set out to explore her new memoir, \u003cem>Good Boy: My Life in Seven Dogs\u003c/em>.\u003c/p>\n\u003cp>After Boylan came out as trans in her 40s, she felt estranged from her previous life. She describes her new book as a “memoir of masculinity, kind of told the way an expatriate might speak of the country of their birth.”\u003c/p>\n\u003cp>Boylan acknowledges that some in the trans community might take issue with the notion that she had a “boyhood.”\u003c/p>\n\u003cp>“There are many people who feel that they always were who they are, and to refer to an earlier part of your life differently is really disrespectful,” she says. “But even though I respect that view, for me, … I had this experience and it’s an experience that I now struggle to connect to.”\u003c/p>\n\u003cp>Boylan writes that when she was living as a boy, and then as a man, there were times when she found it impossible to express the thing that was in her heart. But she never had to hide what she felt for dogs. Her memoir is told through the lens of seven different dogs she loved throughout the years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There are times when I struggle to remember what it was like to live in that world, but then I remember the dogs, and it becomes really clear,” she says. “There was the dog that I had when I was a boy. There was a dog for when I was a teenager. And there’s one for when I was a cool college boy, and there was one for when I was a husband, and a boyfriend, and a father.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On her first dog\u003c/strong>\u003c/p>\n\u003cp>The first dog we had was this mulish, snarling, resentful Dalmatian who was named—and I can’t believe we named the dog this—Playboy. … Playboy would steal the Thanksgiving turkey off the table and chase after motorcycles and bite your friends. So, it was a difficult relationship. However, the one person in the world who loved Playboy without reservation—and the feeling was mutual—was my father. … He would just get down on the floor and ask that question that has haunted me my entire life: “Who’s a good boy? Who’s a good boy?” And I remember being very jealous in some ways of that dog, because my father could love this horrible dog without condition, whereas for me, it was harder, because I didn’t know who was a good boy, but I knew it wasn’t me.\u003c/p>\n\u003cfigure id=\"attachment_13879066\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879066\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-2.08.50-AM.png\" alt=\"‘Good Boy: My Life in Seven Dogs,’ by Jennifer Finney Boylan.\" width=\"300\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-2.08.50-AM.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-2.08.50-AM-160x243.png 160w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Good Boy: My Life in Seven Dogs,’ by Jennifer Finney Boylan.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On why she didn’t come out as trans or take hormones until she was in her 40s \u003c/strong>\u003c/p>\n\u003cp>In those days, coming out as transgender was unknown territory, at least it was for me. I barely even had a word for the thing that I felt. And as much as I knew I wanted to live my true life, I also felt that if I lived that life, it would almost surely lead to a life of marginality, of violence. I just thought, I might well be killed, that there was no place in the world in which I could live. There is no place in the world for me to be. …\u003c/p>\n\u003cp>If I’d gone to a doctor and been given the chance to take the medication that I needed, I probably still would have been very reluctant to do it because I was just too afraid. And I thought that I would be wrecking the rest of my life, that I would never be loved by anyone except for maybe my dog. I thought that I would never have a family, I would never have a job. It seemed like my best life might well cost me my life. I just soldiered on, hoping that it would all get better.\u003c/p>\n\u003cp>\u003cstrong>On the process of coming out to her wife \u003c/strong>\u003c/p>\n\u003cp>It was not exactly one day. It was less of a decision than, like, an erosion, maybe. … But I remember there was one day when a barrier came down at a railroad crossing and it was snowing. It was probably January of 2000. So it was the new millennium. I remember that it felt like we were in a new era. And I just watched the cars of the freight train going by and started kind of daydreaming and thinking that question: How long are you going to wait before you leave your actual life? Eventually, the barrier went up, the train disappeared down the tracks, but I was just sitting there in my car in this kind of daze until cars behind me started honking and wondering what was wrong with me. So that was the day I came home and I said to my wife, “I think I’m gonna get back into therapy.” We talked a little bit about the gender question before that moment, but that was the moment that I thought, I cannot keep living a life in which I’m not really myself.\u003c/p>\n\u003cp>\u003cstrong>On her wife’s reaction \u003c/strong>\u003c/p>\n\u003cp>She’s a social worker, so her first reaction was, “Good! Therapy’s a good thing.” She wanted me to be happy, but she also felt, once it became clear that transition was coming right ahead, that she had a dilemma where she had to think: I have to help the person that I love most in the world at this moment of their crisis. But in so doing, I might lose the person that I love. It’s kind of an unsolvable dilemma. And, yet, here we are still together, after 32 years of marriage—12 as husband and wife, and 20 as wife and wife.\u003c/p>\n\u003cp>\u003cstrong>On the process of figuring out what kind of woman she is as she transitioned\u003c/strong>\u003c/p>\n\u003cp>I was essentially going through a second adolescence at age 40. And a lot of the kind of trial-and-error things that girls go through and women go through when they’re 5 and 10 and 15 were things that I was having to figure out. And even now, there are some things that I’m still trying to figure out. Like doing a French braid. I’m 61. I’m beginning to think that that ship has sailed. I’m probably never going to learn how to do that now. …\u003c/p>\n\u003cp>I think to live in this culture means that you’re constantly being influenced by what the culture wants you to be, and if you’re a woman, it means you’re supposed to be thin. You’re supposed to care about how pretty you are. You’re supposed to care about a lot of things that maybe you shouldn’t care about as much as the culture says you ought. … There’s a way in which I felt: If I want to fit in, if I want to pass in the world, then this is all the junk that I have to do. And it took me a while before I realized, actually, no, you can fight against that stuff. You’ve gone to all this trouble to become female. Why would you become anything less than the person you want to be?\u003c/p>\n\u003cp>\u003cstrong>On how being trans affected her reaction when her son came out as trans and became her daughter \u003c/strong>\u003c/p>\n\u003cp>I’ll simply say that when I came out as trans, my expectation was that people should be happy for me, and I knew it was asking a lot of people, but I still had the hope that people would understand that I was doing a difficult thing that was necessary that would enable me to survive in the world.\u003c/p>\n\u003cp>Later, when my own child came out as trans, I was surprised at how much I struggled, at least at first, with it. I suddenly had this insight into what I’d been asking other people, and including my own mother, to understand. In the end, I think I was glad for her, and I love my daughter and I’m really proud of her. But it’s funny how I think having me as a parent didn’t make my daughter’s transition easier. In some ways, I think it may have made it harder.\u003c/p>\n\u003cp>We have a lot of our dreams tied up in our children, and it is hard to understand the obvious, which is that your children aren’t here to live your dreams. Your children are here to live theirs. When I came out to my own mother 20 years ago, she was 85. She was an evangelical Christian. She was a Republican, and I had a pretty good sense that my coming out as trans was not going to strike her as the greatest thing that had ever happened to her—and yet I came out to her. I told her the story and I started to cry. And she got up out of her chair and she put her arms around me and she said, “I would never turn my back on my child. I will always love you.” And I said, “But, mom, won’t it be a scandal when everyone finds out that I’m your daughter now?” And she said, “Well, quite frankly, yes, but I will adjust.” And then she quoted First Corinthians and said, “The greatest of these is love.” She said to me, “love will prevail,” and in large measure, it has in my life. So in some ways what I’m trying to do for my own daughter is to follow the example that my own mother set for me and to allow love to prevail.\u003c/p>\n\u003cp>\u003cstrong>On what she considers to be the biggest differences between her life before her transition and now \u003c/strong>\u003c/p>\n\u003cp>In some ways, the biggest change is not going from male to female. The biggest change is going from someone who has a secret to someone who doesn’t have a secret. And if you have a secret that is as profound as the question of who you are, it’s something that’s going to eat at you all the time. So it used to be I’d wake up in the morning and I’d think, “Okay, we’re gonna do the guy thing again now.” And now I wake up in the morning and I don’t think about it. In a way, gender has become something I think about a whole lot less.\u003c/p>\n\u003cp>I think it’s not just the difference to male and female, it’s the difference between being young and being middle aged. So maybe I’m the wrong person to observe those changes, but I try to live my life with courage as best I can. I’ll be honest and say that tears live very close to the surface now when they didn’t used to. Maybe it’s estrogen. Maybe it’s simply being older. … You live long enough, you end up with a lot of arrows in your side. Whatever the reason, it doesn’t take much to get me weeping, and quite often weeping just because something wonderful has happened. So my emotions are definitely closer to the surface, but then everything is closer to the surface—and not only because of hormones, but because I’m living in the world with no secrets.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Thea Chaloner produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27I%27m+Living+In+The+World+With+No+Secrets%2C%27+Says+Trans+Activist+Jennifer+Finney+Boylan+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What does it mean to be a woman who had a boyhood? That’s the question LGBTQ activist Jennifer Finney Boylan set out to explore her new memoir, \u003cem>Good Boy: My Life in Seven Dogs\u003c/em>.\u003c/p>\n\u003cp>After Boylan came out as trans in her 40s, she felt estranged from her previous life. She describes her new book as a “memoir of masculinity, kind of told the way an expatriate might speak of the country of their birth.”\u003c/p>\n\u003cp>Boylan acknowledges that some in the trans community might take issue with the notion that she had a “boyhood.”\u003c/p>\n\u003cp>“There are many people who feel that they always were who they are, and to refer to an earlier part of your life differently is really disrespectful,” she says. “But even though I respect that view, for me, … I had this experience and it’s an experience that I now struggle to connect to.”\u003c/p>\n\u003cp>Boylan writes that when she was living as a boy, and then as a man, there were times when she found it impossible to express the thing that was in her heart. But she never had to hide what she felt for dogs. Her memoir is told through the lens of seven different dogs she loved throughout the years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There are times when I struggle to remember what it was like to live in that world, but then I remember the dogs, and it becomes really clear,” she says. “There was the dog that I had when I was a boy. There was a dog for when I was a teenager. And there’s one for when I was a cool college boy, and there was one for when I was a husband, and a boyfriend, and a father.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On her first dog\u003c/strong>\u003c/p>\n\u003cp>The first dog we had was this mulish, snarling, resentful Dalmatian who was named—and I can’t believe we named the dog this—Playboy. … Playboy would steal the Thanksgiving turkey off the table and chase after motorcycles and bite your friends. So, it was a difficult relationship. However, the one person in the world who loved Playboy without reservation—and the feeling was mutual—was my father. … He would just get down on the floor and ask that question that has haunted me my entire life: “Who’s a good boy? Who’s a good boy?” And I remember being very jealous in some ways of that dog, because my father could love this horrible dog without condition, whereas for me, it was harder, because I didn’t know who was a good boy, but I knew it wasn’t me.\u003c/p>\n\u003cfigure id=\"attachment_13879066\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879066\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-2.08.50-AM.png\" alt=\"‘Good Boy: My Life in Seven Dogs,’ by Jennifer Finney Boylan.\" width=\"300\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-2.08.50-AM.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-2.08.50-AM-160x243.png 160w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Good Boy: My Life in Seven Dogs,’ by Jennifer Finney Boylan.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On why she didn’t come out as trans or take hormones until she was in her 40s \u003c/strong>\u003c/p>\n\u003cp>In those days, coming out as transgender was unknown territory, at least it was for me. I barely even had a word for the thing that I felt. And as much as I knew I wanted to live my true life, I also felt that if I lived that life, it would almost surely lead to a life of marginality, of violence. I just thought, I might well be killed, that there was no place in the world in which I could live. There is no place in the world for me to be. …\u003c/p>\n\u003cp>If I’d gone to a doctor and been given the chance to take the medication that I needed, I probably still would have been very reluctant to do it because I was just too afraid. And I thought that I would be wrecking the rest of my life, that I would never be loved by anyone except for maybe my dog. I thought that I would never have a family, I would never have a job. It seemed like my best life might well cost me my life. I just soldiered on, hoping that it would all get better.\u003c/p>\n\u003cp>\u003cstrong>On the process of coming out to her wife \u003c/strong>\u003c/p>\n\u003cp>It was not exactly one day. It was less of a decision than, like, an erosion, maybe. … But I remember there was one day when a barrier came down at a railroad crossing and it was snowing. It was probably January of 2000. So it was the new millennium. I remember that it felt like we were in a new era. And I just watched the cars of the freight train going by and started kind of daydreaming and thinking that question: How long are you going to wait before you leave your actual life? Eventually, the barrier went up, the train disappeared down the tracks, but I was just sitting there in my car in this kind of daze until cars behind me started honking and wondering what was wrong with me. So that was the day I came home and I said to my wife, “I think I’m gonna get back into therapy.” We talked a little bit about the gender question before that moment, but that was the moment that I thought, I cannot keep living a life in which I’m not really myself.\u003c/p>\n\u003cp>\u003cstrong>On her wife’s reaction \u003c/strong>\u003c/p>\n\u003cp>She’s a social worker, so her first reaction was, “Good! Therapy’s a good thing.” She wanted me to be happy, but she also felt, once it became clear that transition was coming right ahead, that she had a dilemma where she had to think: I have to help the person that I love most in the world at this moment of their crisis. But in so doing, I might lose the person that I love. It’s kind of an unsolvable dilemma. And, yet, here we are still together, after 32 years of marriage—12 as husband and wife, and 20 as wife and wife.\u003c/p>\n\u003cp>\u003cstrong>On the process of figuring out what kind of woman she is as she transitioned\u003c/strong>\u003c/p>\n\u003cp>I was essentially going through a second adolescence at age 40. And a lot of the kind of trial-and-error things that girls go through and women go through when they’re 5 and 10 and 15 were things that I was having to figure out. And even now, there are some things that I’m still trying to figure out. Like doing a French braid. I’m 61. I’m beginning to think that that ship has sailed. I’m probably never going to learn how to do that now. …\u003c/p>\n\u003cp>I think to live in this culture means that you’re constantly being influenced by what the culture wants you to be, and if you’re a woman, it means you’re supposed to be thin. You’re supposed to care about how pretty you are. You’re supposed to care about a lot of things that maybe you shouldn’t care about as much as the culture says you ought. … There’s a way in which I felt: If I want to fit in, if I want to pass in the world, then this is all the junk that I have to do. And it took me a while before I realized, actually, no, you can fight against that stuff. You’ve gone to all this trouble to become female. Why would you become anything less than the person you want to be?\u003c/p>\n\u003cp>\u003cstrong>On how being trans affected her reaction when her son came out as trans and became her daughter \u003c/strong>\u003c/p>\n\u003cp>I’ll simply say that when I came out as trans, my expectation was that people should be happy for me, and I knew it was asking a lot of people, but I still had the hope that people would understand that I was doing a difficult thing that was necessary that would enable me to survive in the world.\u003c/p>\n\u003cp>Later, when my own child came out as trans, I was surprised at how much I struggled, at least at first, with it. I suddenly had this insight into what I’d been asking other people, and including my own mother, to understand. In the end, I think I was glad for her, and I love my daughter and I’m really proud of her. But it’s funny how I think having me as a parent didn’t make my daughter’s transition easier. In some ways, I think it may have made it harder.\u003c/p>\n\u003cp>We have a lot of our dreams tied up in our children, and it is hard to understand the obvious, which is that your children aren’t here to live your dreams. Your children are here to live theirs. When I came out to my own mother 20 years ago, she was 85. She was an evangelical Christian. She was a Republican, and I had a pretty good sense that my coming out as trans was not going to strike her as the greatest thing that had ever happened to her—and yet I came out to her. I told her the story and I started to cry. And she got up out of her chair and she put her arms around me and she said, “I would never turn my back on my child. I will always love you.” And I said, “But, mom, won’t it be a scandal when everyone finds out that I’m your daughter now?” And she said, “Well, quite frankly, yes, but I will adjust.” And then she quoted First Corinthians and said, “The greatest of these is love.” She said to me, “love will prevail,” and in large measure, it has in my life. So in some ways what I’m trying to do for my own daughter is to follow the example that my own mother set for me and to allow love to prevail.\u003c/p>\n\u003cp>\u003cstrong>On what she considers to be the biggest differences between her life before her transition and now \u003c/strong>\u003c/p>\n\u003cp>In some ways, the biggest change is not going from male to female. The biggest change is going from someone who has a secret to someone who doesn’t have a secret. And if you have a secret that is as profound as the question of who you are, it’s something that’s going to eat at you all the time. So it used to be I’d wake up in the morning and I’d think, “Okay, we’re gonna do the guy thing again now.” And now I wake up in the morning and I don’t think about it. In a way, gender has become something I think about a whole lot less.\u003c/p>\n\u003cp>I think it’s not just the difference to male and female, it’s the difference between being young and being middle aged. So maybe I’m the wrong person to observe those changes, but I try to live my life with courage as best I can. I’ll be honest and say that tears live very close to the surface now when they didn’t used to. Maybe it’s estrogen. Maybe it’s simply being older. … You live long enough, you end up with a lot of arrows in your side. Whatever the reason, it doesn’t take much to get me weeping, and quite often weeping just because something wonderful has happened. So my emotions are definitely closer to the surface, but then everything is closer to the surface—and not only because of hormones, but because I’m living in the world with no secrets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Thea Chaloner produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27I%27m+Living+In+The+World+With+No+Secrets%2C%27+Says+Trans+Activist+Jennifer+Finney+Boylan+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco Pride, the world’s most prominent LGBTQ+ celebration, is canceled this year as California continues to shelter in place to curb the spread of coronavirus.\u003c/p>\n\u003cp>The annual June gathering evolved from a commemoration of the 1969 uprising against police brutality at New York’s Stonewall Inn to a celebration that draws hundreds of thousands of revelers to downtown San Francisco. Over the years, Pride has become a cornerstone of the city’s tourism and hospitality industries and a huge bolster for local LGBTQ+ nonprofits.\u003c/p>\n\u003cp>“We know Pride is not just historically essential but also important to the livelihoods of so many local people and businesses,” Executive Director Fred Lopez \u003ca href=\"https://48hills.org/2020/04/sf-pride-parade-and-celebration-cancelled-on-50th-anniversary/?fbclid=IwAR3dQB6ntV6CgLZnKRLrLcYzlFrkaWUrWc6Wxn_qT4ficMv090OC9MWq9MA\" target=\"_blank\" rel=\"noopener noreferrer\">told 48 Hills\u003c/a>. “The people who come to Pride stay in our hotels, drink at our bars, dance at our nightclubs, visit our museums. It’s a true citywide event, so it took us time to really figure out what we needed to do and the right way to do it.”\u003c/p>\n\u003cp>SF Pride, which celebrates its 50th anniversary this year, chose to cancel instead of postpone the 2020 parade for financial reasons, but will be taking some festivities online as part of the worldwide \u003ca href=\"https://www.metroweekly.com/2020/04/pride-season-isnt-canceled-its-moving-online-with-global-pride/\" target=\"_blank\" rel=\"noopener noreferrer\">Global Pride\u003c/a> livestream. In the 48 Hills interview, Lopez touted the community’s resilience and pointed to the \u003ca href=\"https://sfqueernightlifefund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Queer Nightlife Fund\u003c/a>, a grassroots relief program for local LGBTQ+ entertainers and nightlife workers.\u003c/p>\n\u003cp>The announcement came just as Gov. Gavin Newsom \u003ca href=\"https://www.kqed.org/science/1957877/live-updates-coronavirus-in-the-san-francisco-bay-area#0414newsom\" target=\"_blank\" rel=\"noopener noreferrer\">delivered live-streamed remarks\u003c/a> Tuesday afternoon on the state’s latest efforts to combat the coronavirus by strengthening public health infrastructure and continuing physical distancing practices. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After outlining \u003ca href=\"https://www.gov.ca.gov/2020/04/14/governor-newsom-outlines-six-critical-indicators-the-state-will-consider-before-modifying-the-stay-at-home-order-and-other-covid-19-interventions/\" target=\"_blank\" rel=\"noopener noreferrer\">six key indicators\u003c/a> that the state will consider before it begins to loosen shelter-in-place restrictions—a timeline for which is still weeks away—Newsom said that large-scale mass gatherings will be highly unlikely until there is a COVID-19 vaccine.\u003c/p>\n\u003cp>“The prospect of mass gatherings is negligible at best until we get to herd immunity and we get to a vaccine,” Newsom said. “Large-scale events that bring in hundreds, thousands, tens of thousands of strangers all together across every conceivable difference, health and otherwise, is not in the cards based upon our current guidelines and current expectations.”\u003c/p>\n\u003cp>[aside postid='arts_13876619']Newsom painted a picture of a drastically changed public life once restrictions are loosened. Temperature checks could become commonplace before entering public places, as would masks and physical distancing measures at eateries and schools. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>GlaxoSmithKline and Sanofi, the world’s two largest vaccine companies, \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/04/14/834160187/coronavirus-vaccine-two-pharmaceutical-giants-collaborating-to-develop-one\" target=\"_blank\" rel=\"noopener noreferrer\">estimate\u003c/a> that a vaccine will not be available until the second half of 2021.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Pride, the world’s most prominent LGBTQ+ celebration, is canceled this year as California continues to shelter in place to curb the spread of coronavirus.\u003c/p>\n\u003cp>The annual June gathering evolved from a commemoration of the 1969 uprising against police brutality at New York’s Stonewall Inn to a celebration that draws hundreds of thousands of revelers to downtown San Francisco. Over the years, Pride has become a cornerstone of the city’s tourism and hospitality industries and a huge bolster for local LGBTQ+ nonprofits.\u003c/p>\n\u003cp>“We know Pride is not just historically essential but also important to the livelihoods of so many local people and businesses,” Executive Director Fred Lopez \u003ca href=\"https://48hills.org/2020/04/sf-pride-parade-and-celebration-cancelled-on-50th-anniversary/?fbclid=IwAR3dQB6ntV6CgLZnKRLrLcYzlFrkaWUrWc6Wxn_qT4ficMv090OC9MWq9MA\" target=\"_blank\" rel=\"noopener noreferrer\">told 48 Hills\u003c/a>. “The people who come to Pride stay in our hotels, drink at our bars, dance at our nightclubs, visit our museums. It’s a true citywide event, so it took us time to really figure out what we needed to do and the right way to do it.”\u003c/p>\n\u003cp>SF Pride, which celebrates its 50th anniversary this year, chose to cancel instead of postpone the 2020 parade for financial reasons, but will be taking some festivities online as part of the worldwide \u003ca href=\"https://www.metroweekly.com/2020/04/pride-season-isnt-canceled-its-moving-online-with-global-pride/\" target=\"_blank\" rel=\"noopener noreferrer\">Global Pride\u003c/a> livestream. In the 48 Hills interview, Lopez touted the community’s resilience and pointed to the \u003ca href=\"https://sfqueernightlifefund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Queer Nightlife Fund\u003c/a>, a grassroots relief program for local LGBTQ+ entertainers and nightlife workers.\u003c/p>\n\u003cp>The announcement came just as Gov. Gavin Newsom \u003ca href=\"https://www.kqed.org/science/1957877/live-updates-coronavirus-in-the-san-francisco-bay-area#0414newsom\" target=\"_blank\" rel=\"noopener noreferrer\">delivered live-streamed remarks\u003c/a> Tuesday afternoon on the state’s latest efforts to combat the coronavirus by strengthening public health infrastructure and continuing physical distancing practices. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After outlining \u003ca href=\"https://www.gov.ca.gov/2020/04/14/governor-newsom-outlines-six-critical-indicators-the-state-will-consider-before-modifying-the-stay-at-home-order-and-other-covid-19-interventions/\" target=\"_blank\" rel=\"noopener noreferrer\">six key indicators\u003c/a> that the state will consider before it begins to loosen shelter-in-place restrictions—a timeline for which is still weeks away—Newsom said that large-scale mass gatherings will be highly unlikely until there is a COVID-19 vaccine.\u003c/p>\n\u003cp>“The prospect of mass gatherings is negligible at best until we get to herd immunity and we get to a vaccine,” Newsom said. “Large-scale events that bring in hundreds, thousands, tens of thousands of strangers all together across every conceivable difference, health and otherwise, is not in the cards based upon our current guidelines and current expectations.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Newsom painted a picture of a drastically changed public life once restrictions are loosened. Temperature checks could become commonplace before entering public places, as would masks and physical distancing measures at eateries and schools. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>GlaxoSmithKline and Sanofi, the world’s two largest vaccine companies, \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/04/14/834160187/coronavirus-vaccine-two-pharmaceutical-giants-collaborating-to-develop-one\" target=\"_blank\" rel=\"noopener noreferrer\">estimate\u003c/a> that a vaccine will not be available until the second half of 2021.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Even before sheltering in place, \u003ca href=\"https://www.studsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a> thrived in San Francisco against all odds. The LGBTQ+ club, open since 1966, operates under a collective ownership model, sells cheap drinks and—in contrast to the sterile, monochrome vibe of newer bars—champions camp, glitter and weird, performance art-y drag you won’t find on VH1.\u003c/p>\n\u003cp>As we all pivot to streaming for recreation, entertainment and human interaction, The Stud moves its weekly drag show “\u003ca href=\"https://www.twitch.tv/dragalive\" target=\"_blank\" rel=\"noopener noreferrer\">Drag Alive!\u003c/a>” online, with a Twitch stream taking place every Saturday, 6:30–8pm. The first edition is hosted by Stud co-owner and drag queen VivvyAnne Forevermore, along with club mainstay Jillian Gnarling, known for pairing cute femininity with body horror special effects makeup.\u003c/p>\n\u003cp>The lineup of performers—some streaming pre-recorded numbers and others performing live—includes a number of San Francisco’s best-known queens, including Peaches Christ, Honey Mahogany and Christeene.\u003c/p>\n\u003cp>https://twitter.com/PeachesChrist/status/1245791697990082566?s=20\u003c/p>\n\u003cp>In addition to The Stud, popular San Francisco drag club \u003ca href=\"https://sfoasis.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oasis\u003c/a>, the typical tour stop for larger drag productions and gay-friendly concerts, is going online with \u003ca href=\"https://www.youtube.com/channel/UCFX1qGPFvK-hfo1A-1iJYVA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube performances\u003c/a> several times a week. After tonight’s \u003cem>Golden Girls\u003c/em>-themed evening, the next performance is on April 4: a drag parody of \u003cem>Trog\u003c/em>, a so-bad-it’s-good British horror movie from the 1970s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And San Francisco avant-garde drag collective \u003ca href=\"https://www.instagram.com/p/B-a-n8bB34O/\" target=\"_blank\" rel=\"noopener noreferrer\">Toxic Waste Face\u003c/a>, whose ambitious art films and performances have been featured at Art Basel Miami Beach, goes live on \u003ca href=\"https://www.twitch.tv/toxicwasteface\" target=\"_blank\" rel=\"noopener noreferrer\">Twitch\u003c/a> at 5:30pm, April 4 with a 30-minute short film.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite current limitations, we’re happy to report that drag is alive and well. As you stream these performances, remember to tip your queens so it stays that way.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even before sheltering in place, \u003ca href=\"https://www.studsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a> thrived in San Francisco against all odds. The LGBTQ+ club, open since 1966, operates under a collective ownership model, sells cheap drinks and—in contrast to the sterile, monochrome vibe of newer bars—champions camp, glitter and weird, performance art-y drag you won’t find on VH1.\u003c/p>\n\u003cp>As we all pivot to streaming for recreation, entertainment and human interaction, The Stud moves its weekly drag show “\u003ca href=\"https://www.twitch.tv/dragalive\" target=\"_blank\" rel=\"noopener noreferrer\">Drag Alive!\u003c/a>” online, with a Twitch stream taking place every Saturday, 6:30–8pm. The first edition is hosted by Stud co-owner and drag queen VivvyAnne Forevermore, along with club mainstay Jillian Gnarling, known for pairing cute femininity with body horror special effects makeup.\u003c/p>\n\u003cp>The lineup of performers—some streaming pre-recorded numbers and others performing live—includes a number of San Francisco’s best-known queens, including Peaches Christ, Honey Mahogany and Christeene.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In addition to The Stud, popular San Francisco drag club \u003ca href=\"https://sfoasis.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oasis\u003c/a>, the typical tour stop for larger drag productions and gay-friendly concerts, is going online with \u003ca href=\"https://www.youtube.com/channel/UCFX1qGPFvK-hfo1A-1iJYVA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube performances\u003c/a> several times a week. After tonight’s \u003cem>Golden Girls\u003c/em>-themed evening, the next performance is on April 4: a drag parody of \u003cem>Trog\u003c/em>, a so-bad-it’s-good British horror movie from the 1970s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And San Francisco avant-garde drag collective \u003ca href=\"https://www.instagram.com/p/B-a-n8bB34O/\" target=\"_blank\" rel=\"noopener noreferrer\">Toxic Waste Face\u003c/a>, whose ambitious art films and performances have been featured at Art Basel Miami Beach, goes live on \u003ca href=\"https://www.twitch.tv/toxicwasteface\" target=\"_blank\" rel=\"noopener noreferrer\">Twitch\u003c/a> at 5:30pm, April 4 with a 30-minute short film.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite current limitations, we’re happy to report that drag is alive and well. As you stream these performances, remember to tip your queens so it stays that way.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://publishing.andrewsmcmeel.com/book/everything-is-beautiful-and-im-not-afraid/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Everything is Beautiful, and I’m Not Afraid\u003c/em>\u003c/a> is, on the face of it, a comic book about living as a Chinese immigrant in New York City, being queer, and facing rejection by family because of it.\u003c/p>\n\u003cp>But dig deeper into this philosophical and revealing collection, and you’ll find that 30-year-old illustrator Yao Xiao also coincidentally, and accidentally, captures the malaise and uncertainty many of us currently face in our collective coronavirus lockdown. More importantly, she offers ways to battle those feelings of isolation and insecurity and, thanks in part to her dreamy and sometimes surreal illustrations, the end result is thoroughly cathartic.\u003c/p>\n\u003cp>For every expression of fear or hurt, \u003cem>Everything is Beautiful\u003c/em> offers a self-care tip, or a reason to be grateful. For every dark moment (the artist, lonely, asking in vain to the universe for answers), there is an exercise in refocusing. (“Look at lots of art. Make lots of things. Love people and still fight.”) For every expression that “It’s important to be angry and lost,” there is a reminder that’s it’s also important “to carry on dreaming of what you love.”\u003c/p>\n\u003cp>And amongst all the book’s deep thoughts and philosophical feelings, there are also moments of feminist commentary, body positivity, pet adoration and, yes, humor. (The “What are you Afraid of? Bingo” page is a particular highlight.)\u003c/p>\n\u003cp>At its purest essence, \u003cem>Everything is Beautiful\u003c/em> is a book about love. The love we have for others and ourselves, and for the magical and confusing planet that we live on. It’s about fighting through all of the other messes and upsets in order to hang on to that core principle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s also about hope. At one point, Xiao declares point blank: “Miracles are in fact real and, if you are very lucky, you might even see one.” Other than “Stay home” and “Wash your hands,” what better message could we possibly receive right now?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Use it like a mantra in these uncertain times if you have to: Everything is beautiful, and I’m not afraid. If you repeat it for long enough, it starts to become real.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://publishing.andrewsmcmeel.com/book/everything-is-beautiful-and-im-not-afraid/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Everything is Beautiful, and I’m Not Afraid\u003c/em>\u003c/a> is, on the face of it, a comic book about living as a Chinese immigrant in New York City, being queer, and facing rejection by family because of it.\u003c/p>\n\u003cp>But dig deeper into this philosophical and revealing collection, and you’ll find that 30-year-old illustrator Yao Xiao also coincidentally, and accidentally, captures the malaise and uncertainty many of us currently face in our collective coronavirus lockdown. More importantly, she offers ways to battle those feelings of isolation and insecurity and, thanks in part to her dreamy and sometimes surreal illustrations, the end result is thoroughly cathartic.\u003c/p>\n\u003cp>For every expression of fear or hurt, \u003cem>Everything is Beautiful\u003c/em> offers a self-care tip, or a reason to be grateful. For every dark moment (the artist, lonely, asking in vain to the universe for answers), there is an exercise in refocusing. (“Look at lots of art. Make lots of things. Love people and still fight.”) For every expression that “It’s important to be angry and lost,” there is a reminder that’s it’s also important “to carry on dreaming of what you love.”\u003c/p>\n\u003cp>And amongst all the book’s deep thoughts and philosophical feelings, there are also moments of feminist commentary, body positivity, pet adoration and, yes, humor. (The “What are you Afraid of? Bingo” page is a particular highlight.)\u003c/p>\n\u003cp>At its purest essence, \u003cem>Everything is Beautiful\u003c/em> is a book about love. The love we have for others and ourselves, and for the magical and confusing planet that we live on. It’s about fighting through all of the other messes and upsets in order to hang on to that core principle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s also about hope. At one point, Xiao declares point blank: “Miracles are in fact real and, if you are very lucky, you might even see one.” Other than “Stay home” and “Wash your hands,” what better message could we possibly receive right now?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Use it like a mantra in these uncertain times if you have to: Everything is beautiful, and I’m not afraid. If you repeat it for long enough, it starts to become real.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Terrence McNally, one of America’s great playwrights whose prolific career included winning Tony Awards for the plays “Love! Valour! Compassion!” and “Master Class” and the musicals “Ragtime” and “Kiss of the Spider Woman,” has died of complications from the coronavirus. He was 81.\u003c/p>\n\u003cp>McNally died Tuesday at Sarasota Memorial Hospital in Sarasota, Florida, according to representative Matt Polk. McNally was a lung cancer survivor who lived with chronic inflammatory lung disease.\u003c/p>\n\u003cp>His plays and musicals explored how people connect — or fail to. With wit and thoughtfulness, he tackled the strains in families, war, and relationships and probed the spark and costs of creativity. He was an openly gay writer who wrote about homophobia, love and AIDS.[aside label=\"More Coverage\" tag=\"coronavirus\"]\u003c/p>\n\u003cp>“I like to work with people who are a lot more talented and smarter than me, who make fewer mistakes than I do, and who can call me out when I do something lazy,” he told LA Stage Times in 2013. “A lot of people stop learning in life, and that’s their tragedy.”\u003c/p>\n\u003cp>McNally’s “Lips Together, Teeth Apart,” about two married couples who spend a weekend on Fire Island, was a landmark play about AIDS. His play “The Ritz” became one of the first plays with unapologetic gay characters to reach a mainstream audience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>McNally also explored gay themes in the book for the musical “Kiss of the Spider Woman,” for which he won his first Tony Award. His play “Love! Valour! Compassion!” earned him another Tony Award for its portrayal of eight gay men facing issues of fidelity, love and happiness.\u003c/p>\n\u003cp>“Theater changes hearts, that secret place where we all truly live,” he said at the 2019 Tony Awards, where he accepted a lifetime achievement award. “The world needs artists more than ever to remind us what truth and beauty and kindness really are.”\u003c/p>\n\u003cp>F. Murray Abraham, the Oscar-winner who appeared on Broadway in “The Ritz” said of McNally: “His plays are a pleasure to do, but what he says is important, too. And he’s like a fountain he keeps on writing and writing and writing.”\u003c/p>\n\u003cp>In 2018 he was inducted into the American Academy of Arts and Letters. He won four Tonys and an Emmy. New York University gave him an honorary doctorate in 2019.\u003c/p>\n\u003cp>Andrew D. Hamilton, president of New York University, told the crowd that day that McNally put a “unique stamp on American drama by probing the urgent need for connection that resonates at the core of human experience.”[aside postid='science_1957877']\u003c/p>\n\u003cp>Some of his Broadway musical adaptations include “The Full Monty,” adapted from the British film and scored by David Yazbek; “Catch Me if You Can,” based on the Steven Spielberg film, and scored by composer Marc Shaiman and lyricist Scott Wittman; and “Ragtime,” the musical based on the novel by E.L. Doctorow, which won four Tony Awards. In 2017, his musical reworking of the film “Anastasia” landed on Broadway.\u003c/p>\n\u003cp>His 2014 Broadway play “Mothers and Sons” — revisiting McNally’s 1990 TV movie “Andre’s Mother,” which won him an Emmy Award — explores the relationship between a mother and her dead son’s former gay partner. His “It’s Only a Play” was a valentine to theater-making. His “The Visit” was a meditation on revenge.\u003c/p>\n\u003cp>McNally was born in St. Petersburg, Florida, and grew up in Corpus Christi, Texas, listening to radio broadcasts of “The Green Hornet” and the Metropolitan Opera. He graduated Phi Beta Kappa from Columbia University in 1960 with a degree in English.\u003c/p>\n\u003cp>McNally was at the Actors Studio when he was hired by novelist John Steinbeck to be a tutor and guardian to his sons. One of McNally’s earliest theater attempts was writing the book for a musical adaptation of Steinbeck’s “East of Eden” which was called “Here’s Where I Belong” and lasted only a single performance on Broadway in 1968.\u003c/p>\n\u003cp>McNally’s first Broadway play “And Things That Go Bump in the Night” didn’t fare much better in 1965. His absurdist, symbolic melodrama about good and evil confounded critics. Newsday called it “ugly, perverted, tasteless.” It closed in less than three weeks. He was 24.\u003c/p>\n\u003cp>He rebounded with the 1969 off-Broadway hit “Next,” a two-character comedy about a reluctant draftee reporting for an Army physical. A string of successes followed, including “Where Has Tommy Flowers Gone?” (1971), “The Tubs” (1974), “Bad Habits” (1974) and “The Ritz” (1975), a farce set in a gay bathhouse that ran more than a year on Broadway and became McNally’s first produced screenplay.\u003c/p>\n\u003cp>His breakout, “Frankie and Johnny in the Clair de Lune,” about a romance between a waitress and short order cook, was later adapted into a film starring Al Pacino and Michelle Pfeiffer. It was revived on Broadway in 2019 starring Audra McDonald.\u003c/p>\n\u003cp>He collaborated three times with legendary composer John Kander and lyricist Freb Ebb — on “The Rink,” “Kiss of the Spider Woman” and “The Visit.” Chita Rivera starred in all three.\u003c/p>\n\u003cp>His love of opera informed his works “Golden Age,” “The Lisbon Traviata” and “Master Class,” which explored the life of opera diva Maria Callas. He also contributed to opera as a librettist — “The Food of Love” in 1999 with music by Robert Beaser, “Dead Man Walking” in 2000 with music by Jake Heggie, and 2015’s “Great Scott” with Heggie.\u003c/p>\n\u003cp>McNally sometimes was controversial, especially with his play “Corpus Christi,” which depicts a modern-day Jesus as a homosexual. The Manhattan Theater Club, the first company to consider staging it, received death threats and temporarily canceled the production before enjoying a successful run.\u003c/p>\n\u003cp>When picking up his “Ragtime” Tony Award, McNally thanked the theater community for its outcry. “You came together when I was in trouble. It was a time of oppression. You came together overnight. Our voices were heard, and we won.” Holding his Tony high, he said, “So this is for freedom. Thank you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McNally and his partner, Thomas Kirdahy, married in Vermont in 2003, and again in Washington, D.C., in 2010.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of his Broadway musical adaptations include “The Full Monty,” adapted from the British film and scored by David Yazbek; “Catch Me if You Can,” based on the Steven Spielberg film, and scored by composer Marc Shaiman and lyricist Scott Wittman; and “Ragtime,” the musical based on the novel by E.L. Doctorow, which won four Tony Awards. In 2017, his musical reworking of the film “Anastasia” landed on Broadway.\u003c/p>\n\u003cp>His 2014 Broadway play “Mothers and Sons” — revisiting McNally’s 1990 TV movie “Andre’s Mother,” which won him an Emmy Award — explores the relationship between a mother and her dead son’s former gay partner. His “It’s Only a Play” was a valentine to theater-making. His “The Visit” was a meditation on revenge.\u003c/p>\n\u003cp>McNally was born in St. Petersburg, Florida, and grew up in Corpus Christi, Texas, listening to radio broadcasts of “The Green Hornet” and the Metropolitan Opera. He graduated Phi Beta Kappa from Columbia University in 1960 with a degree in English.\u003c/p>\n\u003cp>McNally was at the Actors Studio when he was hired by novelist John Steinbeck to be a tutor and guardian to his sons. One of McNally’s earliest theater attempts was writing the book for a musical adaptation of Steinbeck’s “East of Eden” which was called “Here’s Where I Belong” and lasted only a single performance on Broadway in 1968.\u003c/p>\n\u003cp>McNally’s first Broadway play “And Things That Go Bump in the Night” didn’t fare much better in 1965. His absurdist, symbolic melodrama about good and evil confounded critics. Newsday called it “ugly, perverted, tasteless.” It closed in less than three weeks. He was 24.\u003c/p>\n\u003cp>He rebounded with the 1969 off-Broadway hit “Next,” a two-character comedy about a reluctant draftee reporting for an Army physical. A string of successes followed, including “Where Has Tommy Flowers Gone?” (1971), “The Tubs” (1974), “Bad Habits” (1974) and “The Ritz” (1975), a farce set in a gay bathhouse that ran more than a year on Broadway and became McNally’s first produced screenplay.\u003c/p>\n\u003cp>His breakout, “Frankie and Johnny in the Clair de Lune,” about a romance between a waitress and short order cook, was later adapted into a film starring Al Pacino and Michelle Pfeiffer. It was revived on Broadway in 2019 starring Audra McDonald.\u003c/p>\n\u003cp>He collaborated three times with legendary composer John Kander and lyricist Freb Ebb — on “The Rink,” “Kiss of the Spider Woman” and “The Visit.” Chita Rivera starred in all three.\u003c/p>\n\u003cp>His love of opera informed his works “Golden Age,” “The Lisbon Traviata” and “Master Class,” which explored the life of opera diva Maria Callas. He also contributed to opera as a librettist — “The Food of Love” in 1999 with music by Robert Beaser, “Dead Man Walking” in 2000 with music by Jake Heggie, and 2015’s “Great Scott” with Heggie.\u003c/p>\n\u003cp>McNally sometimes was controversial, especially with his play “Corpus Christi,” which depicts a modern-day Jesus as a homosexual. The Manhattan Theater Club, the first company to consider staging it, received death threats and temporarily canceled the production before enjoying a successful run.\u003c/p>\n\u003cp>When picking up his “Ragtime” Tony Award, McNally thanked the theater community for its outcry. “You came together when I was in trouble. It was a time of oppression. You came together overnight. Our voices were heard, and we won.” Holding his Tony high, he said, “So this is for freedom. Thank you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McNally and his partner, Thomas Kirdahy, married in Vermont in 2003, and again in Washington, D.C., in 2010.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Whether serenading your sweetie, enjoying a night with friends or pampering yourself, Valentine’s Day deserves a good soundtrack. Here, we’ve rounded up 20 Bay Area love songs of the R&B, soul, disco and rap variety.\u003c/p>\n\u003cp>Some selections are newer, like the duet “Best Part” by H.E.R. and Daniel Caesar, the funky “Crush” by Duckwrth, and Rayana Jay’s uptempo R&B track “Love Me Like.” Then, we take it back in time with the disco song “I Need Somebody to Love Tonight” by Sylvester, and wind things down with Darondo’s “Didn’t I” and Tony! Toni! Toné!’s slow jam “Anniversary.”\u003c/p>\n\u003cp>If you need to belt out your emotions, we have you covered with “Love” by Keyshia Cole. And if you’re a player with a softer side, you may appreciate “Cupcake No Fillin” by Trunk Boiz and “What’s Your Zodiac” by the Jacka.\u003c/p>\n\u003cp>Listen below.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/2xeutqmT58kONmJp5f0z1T\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Fred Lopez, executive director of San Francisco Pride, announced Wednesday that the organization would reject an \u003ca href=\"https://www.sfgate.com/file/563/5/5635-Statement%20on%20amendments%20passed%20at%20SF%20Pride%20member%20meeting%2C%20Wednesday%2C%20January%2015th%2C%202020%20%281%29.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">amendment\u003c/a> proposed by its members to ban the Alameda County Sheriff’s Office, Google and YouTube from participating in the 2020 Pride Parade.\u003c/p>\n\u003cp>“We have decided as a board there will not be a ban against Google nor the Alameda County Sheriff’s Office at this year’s Pride celebration,” Lopez said in a statement. “Instead, we are saying yes to inclusivity.”\u003c/p>\n\u003cp>SF Pride members voted in January to ban the Alameda County Sheriff’s Office from marching in uniform. The move followed the agency’s eviction enforcement action against \u003ca href=\"https://www.kqed.org/news/11795944/moms-4-housing-members-evicted-from-oakland-home-4-arrested\" target=\"_blank\" rel=\"noopener noreferrer\">Moms 4 Housing\u003c/a>, a coalition of activists and homeless mothers. The mothers and their children were occupying a previously vacant, investor-owned property in Oakland. After a judge upheld their eviction, the county sheriff’s early-morning ouster of the families—which included arrests, officers in riot gear and a bullet-resistant vehicle that resembled a military tank—drew national headlines and outcry from the public. [aside postid='arts_13857994']\u003c/p>\n\u003cp>SF Pride members also voted to ban YouTube and its parent company, Google, because of YouTube’s reluctance to censor hate speech. YouTube \u003ca href=\"https://www.vox.com/identities/2019/6/5/18653900/youtube-lgbtq-hate-speech-policy-carlos-maza-steven-crowder\" target=\"_blank\" rel=\"noopener noreferrer\">drew criticism\u003c/a> from the LGBTQ+ community and its allies in June, 2019 when Vox journalist Carlos Maza complained to the company about conservative YouTube celebrity Steven Crowder’s targeted harassment campaign against him, in which Crowder mocked the writer for his gay, Latinx identity in numerous videos. YouTube responded in a series of tweets from its official account, stating that it wouldn’t take down the videos.\u003c/p>\n\u003cp>“Opinions can be deeply offensive, but if they don’t violate our policies, they’ll remain on our site,” one of the \u003ca href=\"https://twitter.com/TeamYouTube/status/1136055805545857024\" target=\"_blank\" rel=\"noopener noreferrer\">tweets\u003c/a> read. (YouTube later \u003ca href=\"https://youtube.googleblog.com/2019/06/taking-harder-look-at-harassment.html\" target=\"_blank\" rel=\"noopener noreferrer\">demonetized\u003c/a> Crowder’s channel.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although the SF Pride members voted to ban Google and the Alameda County Sheriff’s Office, the resolution required approval from the organization’s board to go into effect—which it did not get.\u003c/p>\n\u003cp>In his statement, SF Pride’s Lopez appealed to unity. “The Alameda County Sheriff’s Department has not had its own contingent in the parade in years past, and Google has been a responsive corporate sponsor for more than a decade,” he said. “We are in agreement that banning those groups is not in the best interest of Pride and its members, who look forward to an inclusive event each year that reflects the diversity of our wonderful community.”\u003c/p>\n\u003cp>Laurence Berland, a former Google employee and one of the SF Pride members driving the effort to push Google and the sheriff’s office out of the parade, said he’s disappointed in the board’s decision. “In keeping Google in the parade, SF Pride spoke of the value of inclusivity. I guess that’s all about inclusivity of billion dollar corporations, not inclusivity of the LGBTQ+ community, whom YouTube continues to be exclusionary of and hostile toward,” he said to KQED in a text message. “Steven Crowder still gets to spread his message of hate, harassment and bigotry to four million followers. Is that what SF Pride wants to include?”\u003c/p>\n\u003cp>Spokespeople from Google and the Alameda County Sheriff’s Office told KQED that the organizations are pleased to continue participating in SF Pride. Ray Kelly, a sheriff’s spokesperson, said the department welcomes a dialogue to build more trust with the LGBTQ+ community. Indeed, tensions between LGBTQ+ people and law enforcement have persisted for decades: Pride originated with the Compton’s Cafeteria riot in San Francisco and Stonewall riots against police brutality in New York, which took place in the 1960s as a response to systemic police harassment and arrests of gay and transgender people. Today, while relations have somewhat cooled, activists point out that police play an active role in criminalizing homeless people and sex workers, populations that are disproportionately LGBTQ+.\u003c/p>\n\u003cp>Police marching in Pride celebrations has been a \u003ca href=\"https://www.kqed.org/arts/13857994/activists-demand-a-police-free-pride-as-sfpd-ramps-up-its-gay-friendly-image\" target=\"_blank\" rel=\"noopener noreferrer\">hot-button issue\u003c/a> within the LGBTQ+ community for years. Sacramento Pride banned uniformed officers from marching in the 2019 celebration, but \u003ca href=\"https://www.sacbee.com/news/local/article231181973.html\" target=\"_blank\" rel=\"noopener noreferrer\">reversed its decision\u003c/a> at the last minute after the department agreed to create an LGBTQ liaison within its outreach unit and implement other queer- and trans-friendly measures. Uniformed police are banned from Pride parades in Toronto, Minneapolis and Vancouver, and at 2019’s San Francisco Pride, activists \u003ca href=\"https://www.kqed.org/news/11758329/sf-pride-parade-briefly-halted-by-anti-police-anti-corporate-protest\" target=\"_blank\" rel=\"noopener noreferrer\">briefly halted the celebration\u003c/a> to protest the San Francisco Police Department’s inclusion as exhibitors.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“What we learned from some of our communication back and forth with Pride was that there’s there’s a portion of the LGBTQ+ community that is distrustful of law enforcement and that goes back many years,” Kelly said. “So one of the things that we spoke with them about was, how can we build trust where it’s broken in portions of that community?”\u003c/p>\n\u003cp>Kelly also said county sheriff’s deputies didn’t want to evict Moms 4 Housing, but that “\u003cb>\u003c/b>we have to do what we’re lawfully obliged to do under our oath to make sure that we enforce the law.” He called the eviction a success in the sense that no one was injured.\u003c/p>\n\u003cp>A Google spokesperson told KQED, “Google has been a proud participant in San Francisco Pride for more than a decade and we will continue to support this important community organization and others like it here in San Francisco.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Sara Hossaini contributed to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fred Lopez, executive director of San Francisco Pride, announced Wednesday that the organization would reject an \u003ca href=\"https://www.sfgate.com/file/563/5/5635-Statement%20on%20amendments%20passed%20at%20SF%20Pride%20member%20meeting%2C%20Wednesday%2C%20January%2015th%2C%202020%20%281%29.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">amendment\u003c/a> proposed by its members to ban the Alameda County Sheriff’s Office, Google and YouTube from participating in the 2020 Pride Parade.\u003c/p>\n\u003cp>“We have decided as a board there will not be a ban against Google nor the Alameda County Sheriff’s Office at this year’s Pride celebration,” Lopez said in a statement. “Instead, we are saying yes to inclusivity.”\u003c/p>\n\u003cp>SF Pride members voted in January to ban the Alameda County Sheriff’s Office from marching in uniform. The move followed the agency’s eviction enforcement action against \u003ca href=\"https://www.kqed.org/news/11795944/moms-4-housing-members-evicted-from-oakland-home-4-arrested\" target=\"_blank\" rel=\"noopener noreferrer\">Moms 4 Housing\u003c/a>, a coalition of activists and homeless mothers. The mothers and their children were occupying a previously vacant, investor-owned property in Oakland. After a judge upheld their eviction, the county sheriff’s early-morning ouster of the families—which included arrests, officers in riot gear and a bullet-resistant vehicle that resembled a military tank—drew national headlines and outcry from the public. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SF Pride members also voted to ban YouTube and its parent company, Google, because of YouTube’s reluctance to censor hate speech. YouTube \u003ca href=\"https://www.vox.com/identities/2019/6/5/18653900/youtube-lgbtq-hate-speech-policy-carlos-maza-steven-crowder\" target=\"_blank\" rel=\"noopener noreferrer\">drew criticism\u003c/a> from the LGBTQ+ community and its allies in June, 2019 when Vox journalist Carlos Maza complained to the company about conservative YouTube celebrity Steven Crowder’s targeted harassment campaign against him, in which Crowder mocked the writer for his gay, Latinx identity in numerous videos. YouTube responded in a series of tweets from its official account, stating that it wouldn’t take down the videos.\u003c/p>\n\u003cp>“Opinions can be deeply offensive, but if they don’t violate our policies, they’ll remain on our site,” one of the \u003ca href=\"https://twitter.com/TeamYouTube/status/1136055805545857024\" target=\"_blank\" rel=\"noopener noreferrer\">tweets\u003c/a> read. (YouTube later \u003ca href=\"https://youtube.googleblog.com/2019/06/taking-harder-look-at-harassment.html\" target=\"_blank\" rel=\"noopener noreferrer\">demonetized\u003c/a> Crowder’s channel.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although the SF Pride members voted to ban Google and the Alameda County Sheriff’s Office, the resolution required approval from the organization’s board to go into effect—which it did not get.\u003c/p>\n\u003cp>In his statement, SF Pride’s Lopez appealed to unity. “The Alameda County Sheriff’s Department has not had its own contingent in the parade in years past, and Google has been a responsive corporate sponsor for more than a decade,” he said. “We are in agreement that banning those groups is not in the best interest of Pride and its members, who look forward to an inclusive event each year that reflects the diversity of our wonderful community.”\u003c/p>\n\u003cp>Laurence Berland, a former Google employee and one of the SF Pride members driving the effort to push Google and the sheriff’s office out of the parade, said he’s disappointed in the board’s decision. “In keeping Google in the parade, SF Pride spoke of the value of inclusivity. I guess that’s all about inclusivity of billion dollar corporations, not inclusivity of the LGBTQ+ community, whom YouTube continues to be exclusionary of and hostile toward,” he said to KQED in a text message. “Steven Crowder still gets to spread his message of hate, harassment and bigotry to four million followers. Is that what SF Pride wants to include?”\u003c/p>\n\u003cp>Spokespeople from Google and the Alameda County Sheriff’s Office told KQED that the organizations are pleased to continue participating in SF Pride. Ray Kelly, a sheriff’s spokesperson, said the department welcomes a dialogue to build more trust with the LGBTQ+ community. Indeed, tensions between LGBTQ+ people and law enforcement have persisted for decades: Pride originated with the Compton’s Cafeteria riot in San Francisco and Stonewall riots against police brutality in New York, which took place in the 1960s as a response to systemic police harassment and arrests of gay and transgender people. Today, while relations have somewhat cooled, activists point out that police play an active role in criminalizing homeless people and sex workers, populations that are disproportionately LGBTQ+.\u003c/p>\n\u003cp>Police marching in Pride celebrations has been a \u003ca href=\"https://www.kqed.org/arts/13857994/activists-demand-a-police-free-pride-as-sfpd-ramps-up-its-gay-friendly-image\" target=\"_blank\" rel=\"noopener noreferrer\">hot-button issue\u003c/a> within the LGBTQ+ community for years. Sacramento Pride banned uniformed officers from marching in the 2019 celebration, but \u003ca href=\"https://www.sacbee.com/news/local/article231181973.html\" target=\"_blank\" rel=\"noopener noreferrer\">reversed its decision\u003c/a> at the last minute after the department agreed to create an LGBTQ liaison within its outreach unit and implement other queer- and trans-friendly measures. Uniformed police are banned from Pride parades in Toronto, Minneapolis and Vancouver, and at 2019’s San Francisco Pride, activists \u003ca href=\"https://www.kqed.org/news/11758329/sf-pride-parade-briefly-halted-by-anti-police-anti-corporate-protest\" target=\"_blank\" rel=\"noopener noreferrer\">briefly halted the celebration\u003c/a> to protest the San Francisco Police Department’s inclusion as exhibitors.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“What we learned from some of our communication back and forth with Pride was that there’s there’s a portion of the LGBTQ+ community that is distrustful of law enforcement and that goes back many years,” Kelly said. “So one of the things that we spoke with them about was, how can we build trust where it’s broken in portions of that community?”\u003c/p>\n\u003cp>Kelly also said county sheriff’s deputies didn’t want to evict Moms 4 Housing, but that “\u003cb>\u003c/b>we have to do what we’re lawfully obliged to do under our oath to make sure that we enforce the law.” He called the eviction a success in the sense that no one was injured.\u003c/p>\n\u003cp>A Google spokesperson told KQED, “Google has been a proud participant in San Francisco Pride for more than a decade and we will continue to support this important community organization and others like it here in San Francisco.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Sara Hossaini contributed to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The signs have been there for a while. For months now, Michael Che—one half of \u003cem>Saturday Night Live\u003c/em>‘s “Weekend Update” team and one of the show’s head writers—has been increasingly punching down in his comedy.\u003c/p>\n\u003cp>It started slowly. He was a super-likable presence during his brief stint on \u003cem>The Daily Show\u003c/em> in 2014, and a welcome addition to the on-screen talent of \u003cem>SNL\u003c/em> that same year, after working behind the scenes as a writer.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oFrp_pWajmA\u003c/p>\n\u003cp>By 2016’s \u003ca href=\"https://www.imdb.com/title/tt6209400/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Michael Che Matters\u003c/em>\u003c/a>, the comedian had started to walk a fine line that wasn’t quite as successful. In that Netflix special, brilliant material about Black Lives Matter, religion and gentrification rubbed uncomfortably up against jokes making light of street harassment and homelessness, and criticizing the sexual practices of both straight women and gay men. For the most part, though, Che was careful when stepping into offensive territory to first openly acknowledge that he was doing so, and second, to make a larger point in order to justify it.\u003c/p>\n\u003cp>In one particularly infamous bit, the comic used a transgender slur. “I just recently stopped using the word ‘tranny’ because a trans friend of mine told me how much it hurts,” he said. “I was like ‘What? How the f–k is ‘tranny’ hurtful? I just added a Y!’ … She was like ‘How would you like it if I called you ‘blacky’? Well played, tranny. Well played…” Is it difficult to hear Che use this language? Of course. But at least he did so in the course of drawing connections between marginalized groups, and trying to help one understand the other.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More recently, however, Che has descended straight into territory that punches down just for the hell of it.\u003c/p>\n\u003cp>In an October “Weekend Update” segment, Che plunged headfirst into transphobic misgendering, for no valid reason at all. While attempting to make a joke about Kanye West’s music going “G-rated,” he said: “At first, I thought Kanye was losing his mind, and now I feel like he’s … just turning into an old white lady … It’s like, how long before this guy changes his name to Kathy? … Now, you might think I’m crazy, but about five years ago there was a fella named Bruce Jenner…”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fMdn2Ao7-88\u003c/p>\n\u003cp>A week later, he made sexist and ageist comments on the show after a 67-year-old woman gave birth in China. Che prompted a mix of laughter and groans when he said: “She can breastfeed just by standing over the crib,” and “doctors described the birth as pulling a penny out of a wad of gum.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tw0l6e1iOsU&feature=emb_logo\u003c/p>\n\u003cp>Even more troubling than his recent descent into unfunny is Che’s penchant for using his social media to call out specific individuals who happen to not share his views.\u003c/p>\n\u003cp>This week, \u003ca href=\"https://theoutline.com/post/8583/michael-che-feud-snl-jack-allison?utm_source=TW&zr=mi2arnha&zd=1&zi=mpawsoe6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Outline\u003c/em> published a story\u003c/a> by ex-\u003cem>Jimmy Kimmel Live\u003c/em> writer Jack Allison that detailed bullying behavior by Che. After Allison took to Twitter to criticize a (definitely shady) practice used by \u003cem>Saturday Night Live\u003c/em> to acquire jokes, Che called out Allison directly on Instagram, listing his Twitter handle and using specific insults about Allison’s appearance and social life. (“he’s one of those bearded white guys with glasses that hates snl, but talks a lot about snl.. not much about his personal life on there, but i’m sure its awesome.”)\u003c/p>\n\u003cp>In the article, Allison describes in detail how Che repeatedly reignited their squabble online, criticizing Allison’s career (“continue to submit your packet to shows that don’t know/like you! lol i heard thingssssss!”) and personality, and even attempting to paint him as a disingenuous drug addict.\u003c/p>\n\u003cp>https://twitter.com/jackallisonLOL/status/1210296178996203520\u003c/p>\n\u003cp>Allison notes: “Sometimes weeks or whole months would go by with nothing, before all of a sudden, I made another appearance on [Che’s] Instagram Story.”\u003c/p>\n\u003cp>In the same \u003cem>Outline\u003c/em> article, an Uproxx critic named Steven Hyden describes coming under similar fire after writing \u003ca href=\"https://uproxx.com/tv/colin-jost-hate-saturday-night-live/\" target=\"_blank\" rel=\"noopener noreferrer\">an article\u003c/a> about Che’s “Weekend Update” co-anchor Colin Jost that described him as “the epitome of white-male mediocrity.” Hyden explained that Che “decided to mock me on his Instagram. He called me a ‘mediocre ass white dude’ and then said I like to ‘suck off rescue dogs.’ … Also, someone—can’t say it was Che, though it happened immediately after he went into his tirade against me—went into my Wikipedia page and changed it to reflect my supposed preference for having sex with canines.”\u003c/p>\n\u003cp>Similarly, when \u003cem>Daily Beast\u003c/em> writer Samantha Allen wrote an article about \u003ca href=\"https://www.thedailybeast.com/dear-ricky-gervais-and-other-comics-your-caitlyn-jenner-jokes-are-getting-old\" target=\"_blank\" rel=\"noopener noreferrer\">transphobia in comedy\u003c/a>, Che—who wasn’t even mentioned in the piece—responded by pointing his 440,000 Instagram followers squarely in her direction. The incident appeared to be less about defending controversial comedy and more about an attempt to dox a writer for having a different opinion to him.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13873757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/che-insta-800x743.jpg\" alt=\"\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1920x1782.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13873758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/che-insta-2-800x743.jpg\" alt=\"\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1920x1783.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Reports suggest that Che has been taking things this personally since before his TV career even took off. In 2013, after writing \u003ca href=\"https://blackgirlnerds.com/the-trouble-with-snls-white-christmas/\" target=\"_blank\" rel=\"noopener noreferrer\">an article\u003c/a> for \u003cem>Black Girl Nerds\u003c/em> that criticized one of Che’s \u003cem>SNL\u003c/em> skits, writer Faye McCray claimed that he “made personal attacks on [her], the editor and the publication.” (McCray’s original article has since disappeared from the website.)\u003c/p>\n\u003cp>Che’s social media bullying could now be considered a full-blown pattern. And, aside from obvious issues relating to pettiness, fragile masculinity and a flagrant imbalance of power, there is also some deep irony here. In \u003cem>Michael Che Matters\u003c/em>, the comedian made a point of saying that he was open to hear criticism about his more controversial viewpoints, in order to learn from them. “Maybe you’ve got some f–ked up views about something,” he said, “but unless you’re honest about it, how are you going to get better? You’ve gotta stop accusing people just for being honest. You can school me!”\u003c/p>\n\u003cp>Clearly not.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If you are a public figure actively working in a profession that attracts critics, it goes without saying that having a much thicker skin than this is an essential part of the job. Not only is Che’s laser-like focus on anyone who hurts his feelings exhausting to watch, it’s deeply embarrassing—for SNL, for fans watching, and most of all, for him.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The signs have been there for a while. For months now, Michael Che—one half of \u003cem>Saturday Night Live\u003c/em>‘s “Weekend Update” team and one of the show’s head writers—has been increasingly punching down in his comedy.\u003c/p>\n\u003cp>It started slowly. He was a super-likable presence during his brief stint on \u003cem>The Daily Show\u003c/em> in 2014, and a welcome addition to the on-screen talent of \u003cem>SNL\u003c/em> that same year, after working behind the scenes as a writer.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oFrp_pWajmA'\n title='//www.youtube.com/embed/oFrp_pWajmA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By 2016’s \u003ca href=\"https://www.imdb.com/title/tt6209400/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Michael Che Matters\u003c/em>\u003c/a>, the comedian had started to walk a fine line that wasn’t quite as successful. In that Netflix special, brilliant material about Black Lives Matter, religion and gentrification rubbed uncomfortably up against jokes making light of street harassment and homelessness, and criticizing the sexual practices of both straight women and gay men. For the most part, though, Che was careful when stepping into offensive territory to first openly acknowledge that he was doing so, and second, to make a larger point in order to justify it.\u003c/p>\n\u003cp>In one particularly infamous bit, the comic used a transgender slur. “I just recently stopped using the word ‘tranny’ because a trans friend of mine told me how much it hurts,” he said. “I was like ‘What? How the f–k is ‘tranny’ hurtful? I just added a Y!’ … She was like ‘How would you like it if I called you ‘blacky’? Well played, tranny. Well played…” Is it difficult to hear Che use this language? Of course. But at least he did so in the course of drawing connections between marginalized groups, and trying to help one understand the other.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More recently, however, Che has descended straight into territory that punches down just for the hell of it.\u003c/p>\n\u003cp>In an October “Weekend Update” segment, Che plunged headfirst into transphobic misgendering, for no valid reason at all. While attempting to make a joke about Kanye West’s music going “G-rated,” he said: “At first, I thought Kanye was losing his mind, and now I feel like he’s … just turning into an old white lady … It’s like, how long before this guy changes his name to Kathy? … Now, you might think I’m crazy, but about five years ago there was a fella named Bruce Jenner…”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fMdn2Ao7-88'\n title='//www.youtube.com/embed/fMdn2Ao7-88'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A week later, he made sexist and ageist comments on the show after a 67-year-old woman gave birth in China. Che prompted a mix of laughter and groans when he said: “She can breastfeed just by standing over the crib,” and “doctors described the birth as pulling a penny out of a wad of gum.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tw0l6e1iOsU'\n title='//www.youtube.com/embed/tw0l6e1iOsU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even more troubling than his recent descent into unfunny is Che’s penchant for using his social media to call out specific individuals who happen to not share his views.\u003c/p>\n\u003cp>This week, \u003ca href=\"https://theoutline.com/post/8583/michael-che-feud-snl-jack-allison?utm_source=TW&zr=mi2arnha&zd=1&zi=mpawsoe6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Outline\u003c/em> published a story\u003c/a> by ex-\u003cem>Jimmy Kimmel Live\u003c/em> writer Jack Allison that detailed bullying behavior by Che. After Allison took to Twitter to criticize a (definitely shady) practice used by \u003cem>Saturday Night Live\u003c/em> to acquire jokes, Che called out Allison directly on Instagram, listing his Twitter handle and using specific insults about Allison’s appearance and social life. (“he’s one of those bearded white guys with glasses that hates snl, but talks a lot about snl.. not much about his personal life on there, but i’m sure its awesome.”)\u003c/p>\n\u003cp>In the article, Allison describes in detail how Che repeatedly reignited their squabble online, criticizing Allison’s career (“continue to submit your packet to shows that don’t know/like you! lol i heard thingssssss!”) and personality, and even attempting to paint him as a disingenuous drug addict.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Allison notes: “Sometimes weeks or whole months would go by with nothing, before all of a sudden, I made another appearance on [Che’s] Instagram Story.”\u003c/p>\n\u003cp>In the same \u003cem>Outline\u003c/em> article, an Uproxx critic named Steven Hyden describes coming under similar fire after writing \u003ca href=\"https://uproxx.com/tv/colin-jost-hate-saturday-night-live/\" target=\"_blank\" rel=\"noopener noreferrer\">an article\u003c/a> about Che’s “Weekend Update” co-anchor Colin Jost that described him as “the epitome of white-male mediocrity.” Hyden explained that Che “decided to mock me on his Instagram. He called me a ‘mediocre ass white dude’ and then said I like to ‘suck off rescue dogs.’ … Also, someone—can’t say it was Che, though it happened immediately after he went into his tirade against me—went into my Wikipedia page and changed it to reflect my supposed preference for having sex with canines.”\u003c/p>\n\u003cp>Similarly, when \u003cem>Daily Beast\u003c/em> writer Samantha Allen wrote an article about \u003ca href=\"https://www.thedailybeast.com/dear-ricky-gervais-and-other-comics-your-caitlyn-jenner-jokes-are-getting-old\" target=\"_blank\" rel=\"noopener noreferrer\">transphobia in comedy\u003c/a>, Che—who wasn’t even mentioned in the piece—responded by pointing his 440,000 Instagram followers squarely in her direction. The incident appeared to be less about defending controversial comedy and more about an attempt to dox a writer for having a different opinion to him.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13873757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/che-insta-800x743.jpg\" alt=\"\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1920x1782.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13873758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/che-insta-2-800x743.jpg\" alt=\"\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1920x1783.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Reports suggest that Che has been taking things this personally since before his TV career even took off. In 2013, after writing \u003ca href=\"https://blackgirlnerds.com/the-trouble-with-snls-white-christmas/\" target=\"_blank\" rel=\"noopener noreferrer\">an article\u003c/a> for \u003cem>Black Girl Nerds\u003c/em> that criticized one of Che’s \u003cem>SNL\u003c/em> skits, writer Faye McCray claimed that he “made personal attacks on [her], the editor and the publication.” (McCray’s original article has since disappeared from the website.)\u003c/p>\n\u003cp>Che’s social media bullying could now be considered a full-blown pattern. And, aside from obvious issues relating to pettiness, fragile masculinity and a flagrant imbalance of power, there is also some deep irony here. In \u003cem>Michael Che Matters\u003c/em>, the comedian made a point of saying that he was open to hear criticism about his more controversial viewpoints, in order to learn from them. “Maybe you’ve got some f–ked up views about something,” he said, “but unless you’re honest about it, how are you going to get better? You’ve gotta stop accusing people just for being honest. You can school me!”\u003c/p>\n\u003cp>Clearly not.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you are a public figure actively working in a profession that attracts critics, it goes without saying that having a much thicker skin than this is an essential part of the job. Not only is Che’s laser-like focus on anyone who hurts his feelings exhausting to watch, it’s deeply embarrassing—for SNL, for fans watching, and most of all, for him.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "in-sexual-citizens-students-open-up-about-sex-power-and-assault-on-campus",
"title": "In 'Sexual Citizens,' Students Open Up About Sex, Power and Assault on Campus",
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"content": "\u003cp>\u003cem>Editor’s Note: This interview contains descriptions that some listeners and readers may find disturbing. \u003c/em>\u003c/p>\n\u003cp>Sex, power and assault are at the heart of a new study that looks at what it is that makes college the perfect storm for misunderstandings around sexual encounters.\u003c/p>\n\u003cp>Beginning in 2015, Professors Jennifer Hirsch and Shamus Khan interviewed more than 150 Columbia and Barnard College undergrads to learn about their sex lives. What they wanted out of sex, how troubling encounters unfolded, and how layers of misunderstandings led to assault.\u003c/p>\n\u003cp>In their new book, \u003cem>Sexual Citizens\u003c/em>, Hirsch and Khan make the case that prevention starts with education—and they offer new approaches for universities, parents and kids on how to tackle the problem and empower people to feel like they have the right to choose their sexual experiences.\u003c/p>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why the students opened up to them about sex \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hirsch: So the research that we did that we share in \u003cem>Sexual Citizens\u003c/em> was part of a bigger project, The Sexual Health Initiative to Foster Transformation, which I co-directed with Claude Mellins. And so one of the ways that we worked with the students, we had a group of undergraduates who advised us and we also had a research team in the day-to-day data collection with students. And, so, some of the interviews I did, or Shamus did, but some of the interviews were done by this group of younger researchers. And we generally find in doing this kind of research that people are hungry to tell the stories of their lives.\u003c/p>\n\u003cp>Khan: I mean, we sent out this note as part of the broader project, just announcing the project. And students emailed back saying, I have a story to tell. And one of the things that we found was that people are often, you know, adults and young people’s lives are often producing so much silence around sex and sexuality that many of the young people we spoke to expressed it as a relief that someone finally sat down and listened to them about their sexual lives. …\u003c/p>\n\u003cp>Hirsch: There were so many of them that we had to hire another interviewer with experience in trauma-based research. I remember walking up Amsterdam after doing one of those interviews sobbing because the story [one woman] had told me about being assaulted and then trafficked was so intense. And yet she slung her backpack over her back and walked out of the interview room. 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And he described to us her going in and out of consciousness as he, in his words, had sex with her. Thinking that’s what in some ways he was obligated to do. And in that context, you know, it has to do with … men who often think about their own needs and desires, but who also think about, you know, sex as something that they accomplish—and not really considering what the other person was thinking or what the other person’s [plan] might be in that moment.\u003c/p>\n\u003cp>\u003cstrong>On enormous neglect and lack of awareness \u003c/strong>\u003c/p>\n\u003cp>Hirsch: There’s neglect and there’s also, in many cases, a lack of awareness of their own power. In the book, we tell the story of a freshman, Lucy, being assaulted by a Scott. Obviously, all of these are pseudonyms. …Lucy was a freshman, it was orientation week. She met Scott in a bar. They stumbled back to the fraternity … he led her upstairs to his room, started to take off her pants. She said no. He said to her, it’s okay—but it wasn’t okay. He raped her. And in that moment, obviously, he’s a senior. She’s a freshman. So it’s not just gender that has power, it’s also age. It’s control over the space. It’s control over alcohol. So there’s so many forms of power that produce those experiences, those moments of vulnerability to assault. And the most charitable interpretation that we could give for Scott’s behavior is that he was unaware of how much power he exerted in that moment.\u003c/p>\n\u003cp>\u003cstrong>On describing assaults as assaults\u003c/strong>\u003c/p>\n\u003cp>Khan: There are lots of reasons why people don’t describe assaults as assaults. We need to remember that most people are assaulted by somebody they know, not by strangers. And given that, given that they know the person, given that they’ve often had some kind of sexual contact with them before, naming something an assault isn’t just describing what happened to you. It actually fundamentally transforms your relationship with that person—and often your relationships with your shared friends. It’s like saying, you know what, my boyfriend or my girlfriend is a sexual predator, is somebody who did something terrible to me. And many people don’t want to do that. They don’t want to say that. …\u003c/p>\n\u003cp>We heard from many young women who told us that they were in a room with a man and they didn’t really want to be there anymore. And so they just performed oral sex on him to get out of there. And those young men didn’t force those women to have sex—but I think that they fundamentally didn’t realize what it was that the person they were with wanted to do.\u003c/p>\n\u003cp>We had other stories of a young woman who was asked to go out for a walk with her ex-boyfriend, who was very upset about the fact that his sister had just gotten a cancer diagnosis and she was thinking she was going to comfort a friend. And he ended up raping her up against a tree and dragging her to the ground. And she told us this story—chuckling, laughing about how she later found dirt on her body. And she didn’t describe this as a rape, but instead as a weird experience that she had. For these women, it’s not that they’re fundamentally denying the experience of their assault. It’s that they’re enmeshed in so many relationships that are important to them that they don’t want to call it what we see it as, which is assault.\u003c/p>\n\u003cp>\u003cstrong>On changing the conversation\u003c/strong>\u003c/p>\n\u003cp>Khan: We’re trying to change the conversation away from: Did it happen or didn’t it happen? Did she say no or did she not say no as vigorously? And instead to say: How do we prevent this in the first place? So, I think that adjudicating that situation with that woman in the room, with that young man, is nearly impossible. But I think what we outlined in \u003cem>Sexual Citizens\u003c/em> is a way to make sure that that situation is less likely to happen in the first place.\u003c/p>\n\u003cp>\u003cstrong>On race\u003c/strong>\u003c/p>\n\u003cp>Hirsch: So, yes, I think that the stories that black men shared with us about an acutely racialized fear of false accusation drove home the way gender is not the only form of power that shapes experiences of assault or accusation. And, so, there was a sense of racialized precarity. Black men, students, that we spoke with felt like they were marginal on campus, didn’t fully belong. Were less secure. And so the way they navigated consent reflected not just gender, but also race in … a really painful way.\u003c/p>\n\u003cp>Khan: As Jennifer has said so many times, racial justice is fundamentally an issue of preventing sexual assault. We may not think about those two things together, but it’s really important that we do. In addition to black men, every single black woman that we spoke to told us a story of unwanted, sexualized touching—every single one. It was profoundly disturbing when we analyzed our data that that occurred to us. And this reflected the ways in which black women’s experiences in college was something where their bodies were seen as accessible, things that people could touch without consent in ways that other students didn’t describe to us.\u003c/p>\n\u003cp>\u003cstrong>On LGBTQ rates of assault\u003c/strong>\u003c/p>\n\u003cp>Khan: I think there were a lot of reasons why LGBTQ students experienced assault at higher rates. One was that they didn’t accept as normal the kind of touching that happens at parties. So, you know, if you’re in a college basement, at a party rubbing up against each other and someone, you know, casually uses their hand and grabs your butt or something like that—a lot of LGBT students were like, this is not what I’m here for. I’m here for a different kind of experience. Whereas for heterosexual students, you know, there was sort of an understanding that this was part and parcel of being a college student. But there are other reasons why LGBT students also experienced assault at such high, high, high levels. And that’s because every single LGBTQ student that we talked to told us that they had sex ed that wasn’t at all relevant to their own sexual experiences, or sexual identities. And so, really, they just had to figure out sex on their own without any guidance from the communities and families that had raised them.\u003c/p>\n\u003cp>\u003cstrong>On solving the problem\u003c/strong>\u003c/p>\n\u003cp>Hirsch: Part of what solving the problem would look like is starting out when kids are young. Teaching them how to be respectful of other people’s bodies, right. It starts out in kindergarten. Sit criss-cross applesauce. Keep your hands on your own body. So those sort of early lessons in interpersonal respect, which are part of comprehensive sex education but are also part of just good education, are a fundamental first step.\u003c/p>\n\u003cp>Khan: And I think further steps are: comprehensive sex ed. You know, it wasn’t just LGBTQ students who described sex ed that really didn’t meet their needs. Most young people describe the sex ed that they received as a sexual-diseases course, or something that was incredibly fear-based. Here are the risks of pregnancy. Here are the risks of sexually transmitted infections. Here are the risks of sex—sex is something terrifying and really dangerous. And instead, we need to think about talking to young people about sex that’s something that will be really important in their lives. That’s going to be one of the ways in which they connect to some of those [that] are the most meaningful relationships that they’ll have. And to talk to young people about sex where they treat the other person that they’re having sex with as a human being—not just a toy that they’re going to be playing with. And if we don’t do that, what’s going to happen is that young people are going to learn about sex, but they’re going to learn about it from things like pornography.\u003c/p>\n\u003cp>\u003cstrong>On what parents can do\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Hirsch: I think, as parents, we have a choice. We can have conversations with our children and, you know, the other children in our lives, about sex and values and how to treat people and what feels good. Or we can let our kids have their sexual values be formed by pornography and advertising.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Sexual+Citizens%2C%27+Students+Open+Up+About+Sex%2C+Power+And+Assault+On+Campus&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: This interview contains descriptions that some listeners and readers may find disturbing. \u003c/em>\u003c/p>\n\u003cp>Sex, power and assault are at the heart of a new study that looks at what it is that makes college the perfect storm for misunderstandings around sexual encounters.\u003c/p>\n\u003cp>Beginning in 2015, Professors Jennifer Hirsch and Shamus Khan interviewed more than 150 Columbia and Barnard College undergrads to learn about their sex lives. What they wanted out of sex, how troubling encounters unfolded, and how layers of misunderstandings led to assault.\u003c/p>\n\u003cp>In their new book, \u003cem>Sexual Citizens\u003c/em>, Hirsch and Khan make the case that prevention starts with education—and they offer new approaches for universities, parents and kids on how to tackle the problem and empower people to feel like they have the right to choose their sexual experiences.\u003c/p>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why the students opened up to them about sex \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hirsch: So the research that we did that we share in \u003cem>Sexual Citizens\u003c/em> was part of a bigger project, The Sexual Health Initiative to Foster Transformation, which I co-directed with Claude Mellins. And so one of the ways that we worked with the students, we had a group of undergraduates who advised us and we also had a research team in the day-to-day data collection with students. And, so, some of the interviews I did, or Shamus did, but some of the interviews were done by this group of younger researchers. And we generally find in doing this kind of research that people are hungry to tell the stories of their lives.\u003c/p>\n\u003cp>Khan: I mean, we sent out this note as part of the broader project, just announcing the project. And students emailed back saying, I have a story to tell. And one of the things that we found was that people are often, you know, adults and young people’s lives are often producing so much silence around sex and sexuality that many of the young people we spoke to expressed it as a relief that someone finally sat down and listened to them about their sexual lives. …\u003c/p>\n\u003cp>Hirsch: There were so many of them that we had to hire another interviewer with experience in trauma-based research. I remember walking up Amsterdam after doing one of those interviews sobbing because the story [one woman] had told me about being assaulted and then trafficked was so intense. And yet she slung her backpack over her back and walked out of the interview room. I think, it seemed like she had a feeling of satisfaction that there was going to be somebody at the university who knew how she had suffered and was going to think about what that suffering would mean.\u003c/p>\n\u003cp>\u003cstrong>On consent and misinterpretation\u003c/strong>\u003c/p>\n\u003cp>Khan: So, so much of what we think about when we think about assault is predation, or sociopaths—that is people who are trying to assault someone. But what we found really frequently was that often people who assaulted others thought that they were having sex. They didn’t think that they were committing an assault. They didn’t think they were a predator. And, you know, we had one young man tell us a story, for example, and he said to us, I put on a tie so I knew I was going to have sex. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And, you know, he felt like she really liked him. She’d invited him to this formal and she had gotten very drunk. And he described to us her going in and out of consciousness as he, in his words, had sex with her. Thinking that’s what in some ways he was obligated to do. And in that context, you know, it has to do with … men who often think about their own needs and desires, but who also think about, you know, sex as something that they accomplish—and not really considering what the other person was thinking or what the other person’s [plan] might be in that moment.\u003c/p>\n\u003cp>\u003cstrong>On enormous neglect and lack of awareness \u003c/strong>\u003c/p>\n\u003cp>Hirsch: There’s neglect and there’s also, in many cases, a lack of awareness of their own power. In the book, we tell the story of a freshman, Lucy, being assaulted by a Scott. Obviously, all of these are pseudonyms. …Lucy was a freshman, it was orientation week. She met Scott in a bar. They stumbled back to the fraternity … he led her upstairs to his room, started to take off her pants. She said no. He said to her, it’s okay—but it wasn’t okay. He raped her. And in that moment, obviously, he’s a senior. She’s a freshman. So it’s not just gender that has power, it’s also age. It’s control over the space. It’s control over alcohol. So there’s so many forms of power that produce those experiences, those moments of vulnerability to assault. And the most charitable interpretation that we could give for Scott’s behavior is that he was unaware of how much power he exerted in that moment.\u003c/p>\n\u003cp>\u003cstrong>On describing assaults as assaults\u003c/strong>\u003c/p>\n\u003cp>Khan: There are lots of reasons why people don’t describe assaults as assaults. We need to remember that most people are assaulted by somebody they know, not by strangers. And given that, given that they know the person, given that they’ve often had some kind of sexual contact with them before, naming something an assault isn’t just describing what happened to you. It actually fundamentally transforms your relationship with that person—and often your relationships with your shared friends. It’s like saying, you know what, my boyfriend or my girlfriend is a sexual predator, is somebody who did something terrible to me. And many people don’t want to do that. They don’t want to say that. …\u003c/p>\n\u003cp>We heard from many young women who told us that they were in a room with a man and they didn’t really want to be there anymore. And so they just performed oral sex on him to get out of there. And those young men didn’t force those women to have sex—but I think that they fundamentally didn’t realize what it was that the person they were with wanted to do.\u003c/p>\n\u003cp>We had other stories of a young woman who was asked to go out for a walk with her ex-boyfriend, who was very upset about the fact that his sister had just gotten a cancer diagnosis and she was thinking she was going to comfort a friend. And he ended up raping her up against a tree and dragging her to the ground. And she told us this story—chuckling, laughing about how she later found dirt on her body. And she didn’t describe this as a rape, but instead as a weird experience that she had. For these women, it’s not that they’re fundamentally denying the experience of their assault. It’s that they’re enmeshed in so many relationships that are important to them that they don’t want to call it what we see it as, which is assault.\u003c/p>\n\u003cp>\u003cstrong>On changing the conversation\u003c/strong>\u003c/p>\n\u003cp>Khan: We’re trying to change the conversation away from: Did it happen or didn’t it happen? Did she say no or did she not say no as vigorously? And instead to say: How do we prevent this in the first place? So, I think that adjudicating that situation with that woman in the room, with that young man, is nearly impossible. But I think what we outlined in \u003cem>Sexual Citizens\u003c/em> is a way to make sure that that situation is less likely to happen in the first place.\u003c/p>\n\u003cp>\u003cstrong>On race\u003c/strong>\u003c/p>\n\u003cp>Hirsch: So, yes, I think that the stories that black men shared with us about an acutely racialized fear of false accusation drove home the way gender is not the only form of power that shapes experiences of assault or accusation. And, so, there was a sense of racialized precarity. Black men, students, that we spoke with felt like they were marginal on campus, didn’t fully belong. Were less secure. And so the way they navigated consent reflected not just gender, but also race in … a really painful way.\u003c/p>\n\u003cp>Khan: As Jennifer has said so many times, racial justice is fundamentally an issue of preventing sexual assault. We may not think about those two things together, but it’s really important that we do. In addition to black men, every single black woman that we spoke to told us a story of unwanted, sexualized touching—every single one. It was profoundly disturbing when we analyzed our data that that occurred to us. And this reflected the ways in which black women’s experiences in college was something where their bodies were seen as accessible, things that people could touch without consent in ways that other students didn’t describe to us.\u003c/p>\n\u003cp>\u003cstrong>On LGBTQ rates of assault\u003c/strong>\u003c/p>\n\u003cp>Khan: I think there were a lot of reasons why LGBTQ students experienced assault at higher rates. One was that they didn’t accept as normal the kind of touching that happens at parties. So, you know, if you’re in a college basement, at a party rubbing up against each other and someone, you know, casually uses their hand and grabs your butt or something like that—a lot of LGBT students were like, this is not what I’m here for. I’m here for a different kind of experience. Whereas for heterosexual students, you know, there was sort of an understanding that this was part and parcel of being a college student. But there are other reasons why LGBT students also experienced assault at such high, high, high levels. And that’s because every single LGBTQ student that we talked to told us that they had sex ed that wasn’t at all relevant to their own sexual experiences, or sexual identities. And so, really, they just had to figure out sex on their own without any guidance from the communities and families that had raised them.\u003c/p>\n\u003cp>\u003cstrong>On solving the problem\u003c/strong>\u003c/p>\n\u003cp>Hirsch: Part of what solving the problem would look like is starting out when kids are young. Teaching them how to be respectful of other people’s bodies, right. It starts out in kindergarten. Sit criss-cross applesauce. Keep your hands on your own body. So those sort of early lessons in interpersonal respect, which are part of comprehensive sex education but are also part of just good education, are a fundamental first step.\u003c/p>\n\u003cp>Khan: And I think further steps are: comprehensive sex ed. You know, it wasn’t just LGBTQ students who described sex ed that really didn’t meet their needs. Most young people describe the sex ed that they received as a sexual-diseases course, or something that was incredibly fear-based. Here are the risks of pregnancy. Here are the risks of sexually transmitted infections. Here are the risks of sex—sex is something terrifying and really dangerous. And instead, we need to think about talking to young people about sex that’s something that will be really important in their lives. That’s going to be one of the ways in which they connect to some of those [that] are the most meaningful relationships that they’ll have. And to talk to young people about sex where they treat the other person that they’re having sex with as a human being—not just a toy that they’re going to be playing with. And if we don’t do that, what’s going to happen is that young people are going to learn about sex, but they’re going to learn about it from things like pornography.\u003c/p>\n\u003cp>\u003cstrong>On what parents can do\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hirsch: I think, as parents, we have a choice. We can have conversations with our children and, you know, the other children in our lives, about sex and values and how to treat people and what feels good. Or we can let our kids have their sexual values be formed by pornography and advertising.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Sexual+Citizens%2C%27+Students+Open+Up+About+Sex%2C+Power+And+Assault+On+Campus&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“I know you want me to tear my clothes off so you can look your 50 cents worth,” the cabaret dancer says, scolding her audience from the edge of a stage. “Fifty cents for the privilege of staring at a girl the way your wives won’t let you. What do you suppose we think of you up here? With your silly smirks your mothers would be ashamed of. What’s it for? So’s you can go home when the show’s over and strut before your wives…? I am sure they see through you just like we do.”\u003c/p>\n\u003cp>It’s a scene so unerringly feminist, it’s hard to believe it was filmed in 1940. \u003cem>Dance, Girl, Dance\u003c/em>, a movie that presented dancers as smart and complex at a time when they were more commonly used on screen as little more than background color, was extremely bold. And its landmark scene was par for the course for rebel director Dorothy Arzner.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fljry1HocUY\u003c/p>\n\u003cp>Born in San Francisco in 1897, Arzner spent most of her life in Southern California. What’s clear about the mark she left on the world, however, is that the rebellious spirit of San Francisco stayed with her long after she left. That fearlessness is visible in her film choices, as well as how she conducted her personal life—she was an out and unabashedly butch lesbian at a time when homosexuality was widely condemned. [aside postid='arts_13870056']\u003c/p>\n\u003cp>Unshakeable in her commitment to elevating female figures on screen, Arzner’s movies pulled no punches in presenting women as they’d never really been seen before. Both 1931’s \u003cem>Working Girls\u003c/em> and 1933’s \u003cem>Christopher Strong\u003c/em> featured plots in which unmarried women got pregnant—an extremely taboo subject at the time—and highlighted the damage wrought by stigmatizing women in trouble. In \u003cem>Christopher Strong\u003c/em>, even Katherine Hepburn’s go-getting pilot chooses to commit suicide rather than face the public shame of the world finding out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arzner never held back when it came to her views on marriage, either. Instead of the Hollywood romance usually associated with the institution, she presented it as a trap women were forced into for social and financial security. \u003cem>Working Girls\u003c/em>, \u003cem>Craig’s Wife\u003c/em> (1936) and \u003cem>Merrily We Go To A Hell\u003c/em> (1932) were all critical of the institution. The latter even featured a wife proposing an open marriage after finding out her husband has cheated.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QrD71wADp0w\u003c/p>\n\u003cp>While not the first female director in the world, Arzner was \u003ca href=\"https://en.wikipedia.org/wiki/Dorothy_Arzner\" target=\"_blank\" rel=\"noopener noreferrer\">the only one\u003c/a> working in Hollywood for the entirety of her movie directing career (1927-1943). She was also the first woman to be accepted into the Director’s Guild of America. Not for nothing. Her moviemaking knowledge was built on sturdy foundations of experience, starting in 1919 with her first job as a silent film stenographer. From there, she graduated onto scriptwriting, and then onto film editing. Her directorial debut came in the form of 1927’s \u003cem>Fashions for Women,\u003c/em> and three other silent films followed.\u003c/p>\n\u003cp>In 1929, Arzner was given the great distinction of directing Paramount’s first talkie, \u003cem>The Wild Party, \u003c/em>and she took the challenge on with great innovation and aplomb. When the star of the film, Clara Bow, began struggling to adjust to non-silent set conditions (she was awkwardly checking the positions of microphones mid-scene), Arzner solved the issue by dangling a mic from a fishing line above. Just like that, the boom mic was born. [aside postid='arts_13879147']\u003c/p>\n\u003cp>After directing her final movie (1943’s \u003ca href=\"https://en.wikipedia.org/wiki/First_Comes_Courage\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>First Comes Courage\u003c/em>\u003c/a>, about a female member of the WWII resistance), Arzner directed training videos for the wartime Women’s Army Corps and made dozens of Pepsi-Cola commercials before going on to teach. Arzner’s first classes were at the Pasadena Playhouse, and in 1961, she began teaching at UCLA’s film school. (Interestingly, Arzner’s partner of over 40 years, \u003ca href=\"https://en.wikipedia.org/wiki/Marion_Morgan_(choreographer)\" target=\"_blank\" rel=\"noopener noreferrer\">Marion Morgan\u003c/a>, made a similar transition, moving from life as a Hollywood choreographer to teaching dance at \u003ca href=\"https://books.google.com/books?id=nmQvAQAAMAAJ&pg=PR74&lpg=PR74&dq=marion+morgan+summer+school+berkeley&source=bl&ots=MtBlJXpBow&sig=ACfU3U3XeGZlAtJHqZUIPWz97MqC8jMAoQ&hl=en&sa=X&ved=2ahUKEwj5j8Wg4fnmAhX3CTQIHdHhA0gQ6AEwAXoECAoQAQ#v=onepage&q=marion%20morgan%20summer%20school%20berkeley&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">both UC Berkeley and UCLA\u003c/a>.)\u003c/p>\n\u003cp>Arzner’s time at UCLA left a lasting impression on a multitude of students, including Francis Ford Coppola, who moved to San Francisco shortly after graduating from her class. After lobbying Paramount to name a building on its Hollywood lot after Arzner in 2018, Coppola appeared before the new Dorothy Arzner office and talked fondly of his mentor, calling her “salty and sort of tough, but with a heart as big as the world.”\u003c/p>\n\u003cp>At the end of his \u003ca href=\"https://www.hollywoodreporter.com/news/francis-ford-coppola-joins-paramount-honoring-dorothy-arzner-1090127\" target=\"_blank\" rel=\"noopener noreferrer\">touching speech\u003c/a>, Coppola turned toward a large black-and-white photo of Arzner, showing her working diligently behind a camera, and said: “I can never thank you enough for what helped me for the next 58 years of my career.” In a \u003ca href=\"https://theluxurychannel.com/magazine/the-godfathers-godmother-francis-ford-coppola-on-female-film-makers/\" target=\"_blank\" rel=\"noopener noreferrer\">separate interview\u003c/a>, Coppola noted: “I think what meant so much, as I always had self-doubt, was that she would say: ‘You are going to do fine.’ She was very famous. I just had the good luck that I was her student.”\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I know you want me to tear my clothes off so you can look your 50 cents worth,” the cabaret dancer says, scolding her audience from the edge of a stage. “Fifty cents for the privilege of staring at a girl the way your wives won’t let you. What do you suppose we think of you up here? With your silly smirks your mothers would be ashamed of. What’s it for? So’s you can go home when the show’s over and strut before your wives…? I am sure they see through you just like we do.”\u003c/p>\n\u003cp>It’s a scene so unerringly feminist, it’s hard to believe it was filmed in 1940. \u003cem>Dance, Girl, Dance\u003c/em>, a movie that presented dancers as smart and complex at a time when they were more commonly used on screen as little more than background color, was extremely bold. And its landmark scene was par for the course for rebel director Dorothy Arzner.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Fljry1HocUY'\n title='//www.youtube.com/embed/Fljry1HocUY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born in San Francisco in 1897, Arzner spent most of her life in Southern California. What’s clear about the mark she left on the world, however, is that the rebellious spirit of San Francisco stayed with her long after she left. That fearlessness is visible in her film choices, as well as how she conducted her personal life—she was an out and unabashedly butch lesbian at a time when homosexuality was widely condemned. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unshakeable in her commitment to elevating female figures on screen, Arzner’s movies pulled no punches in presenting women as they’d never really been seen before. Both 1931’s \u003cem>Working Girls\u003c/em> and 1933’s \u003cem>Christopher Strong\u003c/em> featured plots in which unmarried women got pregnant—an extremely taboo subject at the time—and highlighted the damage wrought by stigmatizing women in trouble. In \u003cem>Christopher Strong\u003c/em>, even Katherine Hepburn’s go-getting pilot chooses to commit suicide rather than face the public shame of the world finding out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arzner never held back when it came to her views on marriage, either. Instead of the Hollywood romance usually associated with the institution, she presented it as a trap women were forced into for social and financial security. \u003cem>Working Girls\u003c/em>, \u003cem>Craig’s Wife\u003c/em> (1936) and \u003cem>Merrily We Go To A Hell\u003c/em> (1932) were all critical of the institution. The latter even featured a wife proposing an open marriage after finding out her husband has cheated.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QrD71wADp0w'\n title='//www.youtube.com/embed/QrD71wADp0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While not the first female director in the world, Arzner was \u003ca href=\"https://en.wikipedia.org/wiki/Dorothy_Arzner\" target=\"_blank\" rel=\"noopener noreferrer\">the only one\u003c/a> working in Hollywood for the entirety of her movie directing career (1927-1943). She was also the first woman to be accepted into the Director’s Guild of America. Not for nothing. Her moviemaking knowledge was built on sturdy foundations of experience, starting in 1919 with her first job as a silent film stenographer. From there, she graduated onto scriptwriting, and then onto film editing. Her directorial debut came in the form of 1927’s \u003cem>Fashions for Women,\u003c/em> and three other silent films followed.\u003c/p>\n\u003cp>In 1929, Arzner was given the great distinction of directing Paramount’s first talkie, \u003cem>The Wild Party, \u003c/em>and she took the challenge on with great innovation and aplomb. When the star of the film, Clara Bow, began struggling to adjust to non-silent set conditions (she was awkwardly checking the positions of microphones mid-scene), Arzner solved the issue by dangling a mic from a fishing line above. Just like that, the boom mic was born. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After directing her final movie (1943’s \u003ca href=\"https://en.wikipedia.org/wiki/First_Comes_Courage\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>First Comes Courage\u003c/em>\u003c/a>, about a female member of the WWII resistance), Arzner directed training videos for the wartime Women’s Army Corps and made dozens of Pepsi-Cola commercials before going on to teach. Arzner’s first classes were at the Pasadena Playhouse, and in 1961, she began teaching at UCLA’s film school. (Interestingly, Arzner’s partner of over 40 years, \u003ca href=\"https://en.wikipedia.org/wiki/Marion_Morgan_(choreographer)\" target=\"_blank\" rel=\"noopener noreferrer\">Marion Morgan\u003c/a>, made a similar transition, moving from life as a Hollywood choreographer to teaching dance at \u003ca href=\"https://books.google.com/books?id=nmQvAQAAMAAJ&pg=PR74&lpg=PR74&dq=marion+morgan+summer+school+berkeley&source=bl&ots=MtBlJXpBow&sig=ACfU3U3XeGZlAtJHqZUIPWz97MqC8jMAoQ&hl=en&sa=X&ved=2ahUKEwj5j8Wg4fnmAhX3CTQIHdHhA0gQ6AEwAXoECAoQAQ#v=onepage&q=marion%20morgan%20summer%20school%20berkeley&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">both UC Berkeley and UCLA\u003c/a>.)\u003c/p>\n\u003cp>Arzner’s time at UCLA left a lasting impression on a multitude of students, including Francis Ford Coppola, who moved to San Francisco shortly after graduating from her class. After lobbying Paramount to name a building on its Hollywood lot after Arzner in 2018, Coppola appeared before the new Dorothy Arzner office and talked fondly of his mentor, calling her “salty and sort of tough, but with a heart as big as the world.”\u003c/p>\n\u003cp>At the end of his \u003ca href=\"https://www.hollywoodreporter.com/news/francis-ford-coppola-joins-paramount-honoring-dorothy-arzner-1090127\" target=\"_blank\" rel=\"noopener noreferrer\">touching speech\u003c/a>, Coppola turned toward a large black-and-white photo of Arzner, showing her working diligently behind a camera, and said: “I can never thank you enough for what helped me for the next 58 years of my career.” In a \u003ca href=\"https://theluxurychannel.com/magazine/the-godfathers-godmother-francis-ford-coppola-on-female-film-makers/\" target=\"_blank\" rel=\"noopener noreferrer\">separate interview\u003c/a>, Coppola noted: “I think what meant so much, as I always had self-doubt, was that she would say: ‘You are going to do fine.’ She was very famous. I just had the good luck that I was her student.”\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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