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And the next installment in the Thor franchise will see Tessa Thompson playing Valkyrie, who will have an LGBT storyline. “As a new king, she needs to find her queen,” Thompson \u003ca href=\"https://io9.gizmodo.com/its-official-valkyrie-will-be-the-mcus-first-lgbtq-her-1836569528\" target=\"_blank\" rel=\"noopener noreferrer\">said\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1395&v=d_P8V6KPnoc&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marvel made history in 2018 when it released \u003cem>Black Panther\u003c/em>, the first mainstream superhero movie featuring black superheroes and a mostly black cast. “\u003cem>Black Panther\u003c/em> is a story we haven’t seen told before in popular cinema—a story about black people completely untouched by colonialism, who exist entirely outside the global systems of institutionalized racism,” \u003ca href=\"https://www.npr.org/2018/02/12/585006605/black-panther-is-a-superhero-story-you-havent-seen-before-and-its-thrilling\" target=\"_blank\" rel=\"noopener noreferrer\">wrote NPR’s Glen Weldon\u003c/a> at the time.\u003c/p>\n\u003cp>“It’s a fantasy, in other words—but then, that’s exactly what superhero stories are for,” Weldon said. “It’s difficult to explain the simple, inspiring and empowering joy of seeing a version of oneself onscreen, to those who’ve spent their lives unthinkingly soaking in it.”\u003c/p>\n\u003cp>In last year’s \u003cem>Captain Marvel\u003c/em>, Brie Larson played the eponymous character, who (spoiler alert) turns out to be one of the most powerful characters in the entire Marvel universe. She was the second woman in the Marvel universe to lead her own movie—or, as film critic \u003ca href=\"https://www.npr.org/2019/03/08/701480772/captain-marvel-falls-short-of-instilling-its-heroine-with-a-distinctive-personal\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Chang wrote\u003c/a>, the \u003cem>first \u003c/em>“assuming you don’t count the ill-fated 2005 Jennifer Garner vehicle, \u003cem>Elektra\u003c/em>.”\u003c/p>\n\u003cp>With \u003cem>Black Panther\u003c/em> and \u003cem>Captain Marvel\u003c/em>, “we wanted to keep showcasing heroes from the comics that represent the world that goes to see our movies,” Feige said. “So our intention was always to continue to do that.” Both of those movies were so successful, Feige said, that they “have inspired other companies around the world to do the same thing and tell those different types of stories.”\u003c/p>\n\u003cp>Marvel wouldn’t be the first studio to feature a transgender superhero. That distinction belongs to CW’s \u003cem>Supergirl\u003c/em>, which in 2018 cast the \u003ca href=\"https://www.npr.org/2018/07/23/631693257/supergirl-casts-first-transgender-superhero-on-television\" target=\"_blank\" rel=\"noopener noreferrer\">first transgender superhero\u003c/a> to be featured in a television show. Nicole Maines plays Nia Nal, who came out last year as a transgender woman named Dreamer who is half-alien and half-human. “That inadvertently [broke] the fourth wall because as Nia’s doing that, so am I,” Maines told \u003ca href=\"https://ew.com/tv/2019/06/14/supergirl-nicole-maines-dreamer/\" target=\"_blank\" rel=\"noopener noreferrer\">Entertainment Weekly\u003c/a>. “I’m going on television and declaring my identity as a trans woman, proudly, unapologetically, and in hopes of inspiring people.” The increasing representation of trans people in media has “taught me there are people in Hollywood who care,” Maines said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Feige told the New York Film Academy audience that Marvel tries to encourage diversity behind the camera as well. “Both films we have coming out in 2020 are directed by women,” as are multiple Disney+ shows, he said. “It makes for better stories,” he continued. “When you’re sitting at a table … if everybody looks like you, you’re in trouble. You’re not going to get the best story out of that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Marvel+Cinematic+Universe+To+Get+First+Trans+Character&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Marvel made history in 2018 when it released \u003cem>Black Panther\u003c/em>, the first mainstream superhero movie featuring black superheroes and a mostly black cast. “\u003cem>Black Panther\u003c/em> is a story we haven’t seen told before in popular cinema—a story about black people completely untouched by colonialism, who exist entirely outside the global systems of institutionalized racism,” \u003ca href=\"https://www.npr.org/2018/02/12/585006605/black-panther-is-a-superhero-story-you-havent-seen-before-and-its-thrilling\" target=\"_blank\" rel=\"noopener noreferrer\">wrote NPR’s Glen Weldon\u003c/a> at the time.\u003c/p>\n\u003cp>“It’s a fantasy, in other words—but then, that’s exactly what superhero stories are for,” Weldon said. “It’s difficult to explain the simple, inspiring and empowering joy of seeing a version of oneself onscreen, to those who’ve spent their lives unthinkingly soaking in it.”\u003c/p>\n\u003cp>In last year’s \u003cem>Captain Marvel\u003c/em>, Brie Larson played the eponymous character, who (spoiler alert) turns out to be one of the most powerful characters in the entire Marvel universe. She was the second woman in the Marvel universe to lead her own movie—or, as film critic \u003ca href=\"https://www.npr.org/2019/03/08/701480772/captain-marvel-falls-short-of-instilling-its-heroine-with-a-distinctive-personal\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Chang wrote\u003c/a>, the \u003cem>first \u003c/em>“assuming you don’t count the ill-fated 2005 Jennifer Garner vehicle, \u003cem>Elektra\u003c/em>.”\u003c/p>\n\u003cp>With \u003cem>Black Panther\u003c/em> and \u003cem>Captain Marvel\u003c/em>, “we wanted to keep showcasing heroes from the comics that represent the world that goes to see our movies,” Feige said. “So our intention was always to continue to do that.” Both of those movies were so successful, Feige said, that they “have inspired other companies around the world to do the same thing and tell those different types of stories.”\u003c/p>\n\u003cp>Marvel wouldn’t be the first studio to feature a transgender superhero. That distinction belongs to CW’s \u003cem>Supergirl\u003c/em>, which in 2018 cast the \u003ca href=\"https://www.npr.org/2018/07/23/631693257/supergirl-casts-first-transgender-superhero-on-television\" target=\"_blank\" rel=\"noopener noreferrer\">first transgender superhero\u003c/a> to be featured in a television show. Nicole Maines plays Nia Nal, who came out last year as a transgender woman named Dreamer who is half-alien and half-human. “That inadvertently [broke] the fourth wall because as Nia’s doing that, so am I,” Maines told \u003ca href=\"https://ew.com/tv/2019/06/14/supergirl-nicole-maines-dreamer/\" target=\"_blank\" rel=\"noopener noreferrer\">Entertainment Weekly\u003c/a>. “I’m going on television and declaring my identity as a trans woman, proudly, unapologetically, and in hopes of inspiring people.” The increasing representation of trans people in media has “taught me there are people in Hollywood who care,” Maines said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Feige told the New York Film Academy audience that Marvel tries to encourage diversity behind the camera as well. “Both films we have coming out in 2020 are directed by women,” as are multiple Disney+ shows, he said. “It makes for better stories,” he continued. “When you’re sitting at a table … if everybody looks like you, you’re in trouble. You’re not going to get the best story out of that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Marvel+Cinematic+Universe+To+Get+First+Trans+Character&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Updated Monday, 10 a.m. \u003c/em>\u003c/p>\n\u003cp>Club BnB and Club 21, two adjoining LGBTQ nightclubs near downtown Oakland, will shutter by Jan. 15, 2020 as a result of the landlord doubling the rent, according to general manager Carlos Uribe.\u003c/p>\n\u003cp>The loss of the multi-floor clubs reduces the number of LGBTQ nightlife establishments in Oakland from four to two, with only Port Bar and the White Horse Inn remaining. “We’re losing a queer space to gentrification, one that specifically caters to people of color,” Uribe said.\u003c/p>\n\u003cp>The clubs, with a combined capacity of more than 700, regularly offer subsidized space to community groups. On weekends, the clubs draw hundreds of patrons for events such as drag bingo and La Bota Loca, a \u003cem>ranchera\u003c/em>– and \u003cem>banda\u003c/em>-themed party featuring DJs and internationally touring live acts.\u003c/p>\n\u003cp>“There’s nothing like it in Oakland,” Uribe said of La Bota Loca. “It’s a safe space for queer Latinx people centered on an aspect of Mexican culture that can be hyper-masculine.”\u003c/p>\n\u003cfigure id=\"attachment_13871729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/BnB-and-21-Exterior-800x450.jpg\" alt=\"Club BnB and Club 21, adjoining LGBTQ nightclubs near downtown Oakland, will shutter by Jan. 15, 2020.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Club BnB and Club 21, adjoining LGBTQ nightclubs near downtown Oakland, will shutter by Jan. 15, 2020. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Broadway and Franklin Street clubs employ some 40 people, many of them for more than a decade, and the businesses have in recent months sought a new location without success.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The market is difficult,” Uribe said, noting the high-cost of commercial rent plus competition for suitable raw warehouse space from cannabis cultivators.\u003c/p>\n\u003cp>The 2120 Broadway property was acquired in May of 2018 for approximately $8 million by a company tied to Ellis Partners, a San Francisco real-estate developer, county records show.\u003c/p>\n\u003cp>Ellis proposed that the clubs either begin paying $45,040/month, more than twice their current rent, or leave the building by January, according to Uribe. The clubs are on a month-to-month lease.\u003c/p>\n\u003cfigure id=\"attachment_13871730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-800x450.jpg\" alt='A realty brochure advertises the building as \"creative office space.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A realty brochure advertises the building as “creative office space.”\u003c/figcaption>\u003c/figure>\n\u003cp>Ellis Partners did not respond to a request for comment Tuesday. In Oakland, the firm is known for developing an incoming 18-story office building at 1100 Broadway marketed as \u003ca href=\"https://www.thekeyoakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Key\u003c/a>.\u003c/p>\n\u003cp>A realty brochure acquired by KQED advertises the 23,000 square-foot Club BnB and Club 21 building as “creative office space” available in the third quarter of 2020. A rendering shows the exterior with an abstract design in place of the current water justice-themed mural from 2011.\u003c/p>\n\u003cp>Nancypili Hernandez, coordinator of the \u003cem>Water Writes\u003c/em> mural, which shows young people of color as environmental stewards, reached out to Ellis Partners after seeing the rendering published by KQED.\u003c/p>\n\u003cp>“The mock-up shows a white-washed wall with random abstract patterns where our mural lives,” Hernandez said. “This image holds value now more than ever, and we hope to work with the new owners to preserve it.”\u003c/p>\n\u003cp>The 6,000-square-foot piece features the work of artists including Vogue, Bounce, DIME, Agana, Cece Carpio and Josue Rojas, and is part of a multi-city series sponsored by environmentalist group the Estria Foundation.\u003c/p>\n\u003cp>Club BnB has existed in different locations in Oakland under the name Bench and Bar since 1976, Uribe said. It operated in the current building 2004-2010 before moving to 17th Street. Club 21 took its place in 2010, and then both clubs reopened in the current building in 2015.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Uribe said the clubs’ parent company is owned by Frank Ciglar, a board member of the Oakland Pride organization, who bought out his former business partner Charles Bisbee in 2016.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated Monday, 10 a.m. \u003c/em>\u003c/p>\n\u003cp>Club BnB and Club 21, two adjoining LGBTQ nightclubs near downtown Oakland, will shutter by Jan. 15, 2020 as a result of the landlord doubling the rent, according to general manager Carlos Uribe.\u003c/p>\n\u003cp>The loss of the multi-floor clubs reduces the number of LGBTQ nightlife establishments in Oakland from four to two, with only Port Bar and the White Horse Inn remaining. “We’re losing a queer space to gentrification, one that specifically caters to people of color,” Uribe said.\u003c/p>\n\u003cp>The clubs, with a combined capacity of more than 700, regularly offer subsidized space to community groups. On weekends, the clubs draw hundreds of patrons for events such as drag bingo and La Bota Loca, a \u003cem>ranchera\u003c/em>– and \u003cem>banda\u003c/em>-themed party featuring DJs and internationally touring live acts.\u003c/p>\n\u003cp>“There’s nothing like it in Oakland,” Uribe said of La Bota Loca. “It’s a safe space for queer Latinx people centered on an aspect of Mexican culture that can be hyper-masculine.”\u003c/p>\n\u003cfigure id=\"attachment_13871729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/BnB-and-21-Exterior-800x450.jpg\" alt=\"Club BnB and Club 21, adjoining LGBTQ nightclubs near downtown Oakland, will shutter by Jan. 15, 2020.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Club BnB and Club 21, adjoining LGBTQ nightclubs near downtown Oakland, will shutter by Jan. 15, 2020. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Broadway and Franklin Street clubs employ some 40 people, many of them for more than a decade, and the businesses have in recent months sought a new location without success.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The market is difficult,” Uribe said, noting the high-cost of commercial rent plus competition for suitable raw warehouse space from cannabis cultivators.\u003c/p>\n\u003cp>The 2120 Broadway property was acquired in May of 2018 for approximately $8 million by a company tied to Ellis Partners, a San Francisco real-estate developer, county records show.\u003c/p>\n\u003cp>Ellis proposed that the clubs either begin paying $45,040/month, more than twice their current rent, or leave the building by January, according to Uribe. The clubs are on a month-to-month lease.\u003c/p>\n\u003cfigure id=\"attachment_13871730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-800x450.jpg\" alt='A realty brochure advertises the building as \"creative office space.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A realty brochure advertises the building as “creative office space.”\u003c/figcaption>\u003c/figure>\n\u003cp>Ellis Partners did not respond to a request for comment Tuesday. In Oakland, the firm is known for developing an incoming 18-story office building at 1100 Broadway marketed as \u003ca href=\"https://www.thekeyoakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Key\u003c/a>.\u003c/p>\n\u003cp>A realty brochure acquired by KQED advertises the 23,000 square-foot Club BnB and Club 21 building as “creative office space” available in the third quarter of 2020. A rendering shows the exterior with an abstract design in place of the current water justice-themed mural from 2011.\u003c/p>\n\u003cp>Nancypili Hernandez, coordinator of the \u003cem>Water Writes\u003c/em> mural, which shows young people of color as environmental stewards, reached out to Ellis Partners after seeing the rendering published by KQED.\u003c/p>\n\u003cp>“The mock-up shows a white-washed wall with random abstract patterns where our mural lives,” Hernandez said. “This image holds value now more than ever, and we hope to work with the new owners to preserve it.”\u003c/p>\n\u003cp>The 6,000-square-foot piece features the work of artists including Vogue, Bounce, DIME, Agana, Cece Carpio and Josue Rojas, and is part of a multi-city series sponsored by environmentalist group the Estria Foundation.\u003c/p>\n\u003cp>Club BnB has existed in different locations in Oakland under the name Bench and Bar since 1976, Uribe said. It operated in the current building 2004-2010 before moving to 17th Street. Club 21 took its place in 2010, and then both clubs reopened in the current building in 2015.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Uribe said the clubs’ parent company is owned by Frank Ciglar, a board member of the Oakland Pride organization, who bought out his former business partner Charles Bisbee in 2016.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Facing a barrage of criticism for pulling ads featuring a lesbian couple from its airwaves, the Hallmark Channel has reversed course, and says it will now work to “reinstate the commercials.”\u003c/p>\n\u003cp>The ad for the wedding planning site Zola shows a couple at the altar, wishing they had used the service before their big day.\u003c/p>\n\u003cp>“Do you think Zola could have made planning your perfect wedding easier?” asks the officiant.\u003c/p>\n\u003cp>“We do!” The two women say, before kissing and walking down the aisle as a married couple.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-pVnnGK6BP4&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hallmark pulled the ad and three others featuring the couple after pressure from One Million Moms, an organization which says the ad promotes homosexuality. The group, a division of the conservative American Family Association, \u003ca href=\"https://onemillionmoms.com/current-campaigns/hallmark-is-now-airing-lgbt-commercials-open-to-lgbt-movies/\">cited\u003c/a> complaints from \u003ca href=\"https://www.complaintboard.com/hallmark-channel-l12907.html\">an online complaint board\u003c/a> about the channel, one which said: “Please Hallmark … we r fed up with having the gay agenda crammed down our throats! You are one of the few channels we thought we would not have to deal with this issue!”\u003c/p>\n\u003cp>Late on Sunday, the Hallmark Channel released \u003ca href=\"https://corporate.hallmark.com/news-article/hallmark-affirms-its-commitment-to-diversity-and-inclusion/?fbclid=IwAR2H2vSNun-yM4fAq7Fyxxj038mXrpZdykCBt0kfP6KXIyBIo8z7N6TWtF8\">a statement\u003c/a> apologizing for the ad’s removal, saying it “has been agonizing over this decision as we’ve seen the hurt it has unintentionally caused.” Taking the ad off the air was “the wrong decision,” the network said.\u003c/p>\n\u003cp>https://twitter.com/hallmarkchannel/status/1206422589725433857\u003c/p>\n\u003cp>“Hallmark will be working with GLAAD to better represent the LGBTQ community across our portfolio of brands. The Hallmark Channel will be reaching out to Zola to reestablish our partnership and reinstate the commercials,” \u003ca href=\"https://corporate.hallmark.com/news-article/hallmark-affirms-its-commitment-to-diversity-and-inclusion/?fbclid=IwAR2H2vSNun-yM4fAq7Fyxxj038mXrpZdykCBt0kfP6KXIyBIo8z7N6TWtF8\">according to the statement\u003c/a>.\u003c/p>\n\u003cp>Hallmark originally said that it chose to remove the ads because the controversy was a distraction. “The debate surrounding these commercials on all sides was distracting from the purpose of our network, which is to provide entertainment value,” it said in a statement to the Associated Press by Molly Biwer, senior vice president for public affairs and communications.\u003c/p>\n\u003cp>“The Hallmark brand is never going to be divisive,” Biwer said in an interview with \u003ca href=\"https://apnews.com/7926c82c3a646ebe73c13d98d1c43bd7\">the AP\u003c/a>. “We don’t want to generate controversy, we’ve tried very hard to stay out of it … we just felt it was in the best interest of the brand to pull them and not continue to generate controversy.”\u003c/p>\n\u003cp>Zola submitted six ads to Hallmark, and all had been airing since Dec. 2. The company says Hallmark did not object to an ad in which a heterosexual couple was seen kissing, but flagged the four ads that included the lesbian couple. Zola has since pulled its other ads from the channel.\u003c/p>\n\u003cp>“The only difference between the commercials that were flagged and the ones that were approved was that the commercials that did not meet Hallmark’s standards included a lesbian couple kissing,” Zola’s chief marketing officer, Mike Chi, said in a statement. “All kisses, couples and marriages are equal celebrations of love and we will no longer be advertising on Hallmark.”\u003c/p>\n\u003cp>GLAAD President and CEO Sarah Kate Ellis called the decision hypocritical and discriminatory. “LGBTQ families are part of family programming,” she said in \u003ca href=\"https://deadline.com/2019/12/hallmark-channel-at-center-of-storm-over-ad-featuring-lesbian-brides-kissing-1202809545/\">a statement\u003c/a> to Deadline. “Advertisers on The Hallmark Channel should see this news and question whether they want to be associated with a network that chooses to bow to fringe anti-LGBTQ activist groups, which solely exist to harm LGBTQ families.”\u003c/p>\n\u003cp>Netflix, which has pushed hard into Hallmark’s market as a provider of feel-good holiday movies, threw shade at the company on Saturday.\u003c/p>\n\u003cp>“Titles Featuring Lesbians Joyfully Existing And Also It’s Christmas Can We Just Let People Love Who They Love,” it \u003ca href=\"https://twitter.com/netflix/status/1206012403126657024\">wrote \u003c/a>on Twitter, referencing Netflix’s hyper-specific content categories. The tweet was accompanied by a still that trumpeted its own approach to LGBTQ content: a scene of two girls kissing in the high school holiday movie \u003cem>Let It Snow\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/netflix/status/1206012403126657024\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=Facing+Backlash%2C+Hallmark+Channel+Says+It+Will+%27Reinstate%27+Ad+Of+Lesbian+Brides+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hallmark pulled the ad and three others featuring the couple after pressure from One Million Moms, an organization which says the ad promotes homosexuality. The group, a division of the conservative American Family Association, \u003ca href=\"https://onemillionmoms.com/current-campaigns/hallmark-is-now-airing-lgbt-commercials-open-to-lgbt-movies/\">cited\u003c/a> complaints from \u003ca href=\"https://www.complaintboard.com/hallmark-channel-l12907.html\">an online complaint board\u003c/a> about the channel, one which said: “Please Hallmark … we r fed up with having the gay agenda crammed down our throats! You are one of the few channels we thought we would not have to deal with this issue!”\u003c/p>\n\u003cp>Late on Sunday, the Hallmark Channel released \u003ca href=\"https://corporate.hallmark.com/news-article/hallmark-affirms-its-commitment-to-diversity-and-inclusion/?fbclid=IwAR2H2vSNun-yM4fAq7Fyxxj038mXrpZdykCBt0kfP6KXIyBIo8z7N6TWtF8\">a statement\u003c/a> apologizing for the ad’s removal, saying it “has been agonizing over this decision as we’ve seen the hurt it has unintentionally caused.” Taking the ad off the air was “the wrong decision,” the network said.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Hallmark will be working with GLAAD to better represent the LGBTQ community across our portfolio of brands. The Hallmark Channel will be reaching out to Zola to reestablish our partnership and reinstate the commercials,” \u003ca href=\"https://corporate.hallmark.com/news-article/hallmark-affirms-its-commitment-to-diversity-and-inclusion/?fbclid=IwAR2H2vSNun-yM4fAq7Fyxxj038mXrpZdykCBt0kfP6KXIyBIo8z7N6TWtF8\">according to the statement\u003c/a>.\u003c/p>\n\u003cp>Hallmark originally said that it chose to remove the ads because the controversy was a distraction. “The debate surrounding these commercials on all sides was distracting from the purpose of our network, which is to provide entertainment value,” it said in a statement to the Associated Press by Molly Biwer, senior vice president for public affairs and communications.\u003c/p>\n\u003cp>“The Hallmark brand is never going to be divisive,” Biwer said in an interview with \u003ca href=\"https://apnews.com/7926c82c3a646ebe73c13d98d1c43bd7\">the AP\u003c/a>. “We don’t want to generate controversy, we’ve tried very hard to stay out of it … we just felt it was in the best interest of the brand to pull them and not continue to generate controversy.”\u003c/p>\n\u003cp>Zola submitted six ads to Hallmark, and all had been airing since Dec. 2. The company says Hallmark did not object to an ad in which a heterosexual couple was seen kissing, but flagged the four ads that included the lesbian couple. Zola has since pulled its other ads from the channel.\u003c/p>\n\u003cp>“The only difference between the commercials that were flagged and the ones that were approved was that the commercials that did not meet Hallmark’s standards included a lesbian couple kissing,” Zola’s chief marketing officer, Mike Chi, said in a statement. “All kisses, couples and marriages are equal celebrations of love and we will no longer be advertising on Hallmark.”\u003c/p>\n\u003cp>GLAAD President and CEO Sarah Kate Ellis called the decision hypocritical and discriminatory. “LGBTQ families are part of family programming,” she said in \u003ca href=\"https://deadline.com/2019/12/hallmark-channel-at-center-of-storm-over-ad-featuring-lesbian-brides-kissing-1202809545/\">a statement\u003c/a> to Deadline. “Advertisers on The Hallmark Channel should see this news and question whether they want to be associated with a network that chooses to bow to fringe anti-LGBTQ activist groups, which solely exist to harm LGBTQ families.”\u003c/p>\n\u003cp>Netflix, which has pushed hard into Hallmark’s market as a provider of feel-good holiday movies, threw shade at the company on Saturday.\u003c/p>\n\u003cp>“Titles Featuring Lesbians Joyfully Existing And Also It’s Christmas Can We Just Let People Love Who They Love,” it \u003ca href=\"https://twitter.com/netflix/status/1206012403126657024\">wrote \u003c/a>on Twitter, referencing Netflix’s hyper-specific content categories. The tweet was accompanied by a still that trumpeted its own approach to LGBTQ content: a scene of two girls kissing in the high school holiday movie \u003cem>Let It Snow\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
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"title": "Oakland's ABO Comix Publishes, Advocates for LGBTQ Prisoners",
"headTitle": "Oakland’s ABO Comix Publishes, Advocates for LGBTQ Prisoners | KQED",
"content": "\u003cp>The comic publisher ABO Comix faces unique obstacles: Its authors communicate by mail, but they’re prohibited from earning a meaningful income, so they struggle to afford postage, let alone art supplies. Also, government censors read every letter, sometimes refusing deliveries. Yet the Oakland publisher supports dozens of incarcerated queer and transgender artists nationwide, distributing collections of their autobiographical work to other LGBTQ prisoners. [aside postID=arts_13863810]\u003c/p>\n\u003cp>The perfect-bound collections are resources for and reflections of their primary audience: E.L. Tedana offers tips for the cell-bound illustrator, while Sirbrian Spease’s series \u003cem>Homo Thug’s Swagger\u003c/em> explores queer cliques and relationships behind bars. Jamie Diaz stylishly deflects pejoratives for trans women while her swooshing coif provokes the ire of prison officials. One strip of Kinoko’s camp \u003cem>Mami Mamasita and the Booyah Girlz\u003c/em> shows the prison yard as a stage, watchtowers shining spotlights, and H. Lee draws someone mailing themselves to a pen pal.\u003c/p>\n\u003cp>ABO’s existence is a reminder that LGBTQ people are incarcerated at twice the rate of the general population in the United States, according to the 2015 U.S. Transgender Survey, and the comics describe the medical neglect, sexual predation and violence they often face inside. The latest collection is dedicated to Joseph Oguntodu, a contributor who was killed in prison weeks before his parole in March after complaining in letters to ABO about racist, homophobic bullying.\u003c/p>\n\u003cp>“I want the queer community to be united,” reads a quote from one of Oguntodu’s many letters to ABO beneath his smiling portrait. “I love each of you. Don’t forget to do something kind.”\u003c/p>\n\u003cfigure id=\"attachment_13870953\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870953\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/ABO-1-800x545.jpg\" alt=\"Artwork by ABO contributors Metro (L) and Kinoko (R).\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-1200x817.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by ABO contributors Metro (L) and Kinoko (R). \u003ccite>(Courtesy ABO Comix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Casper Cendre, 29, who moved to Oakland from San Diego in 2015, co-founded \u003ca href=\"http://www.abocomix.com/\">ABO Comix\u003c/a> with Io Ascarium and Woof (who’ve both since stepped back from day-to-day operations). They launched the publisher with a call for submissions through the prison abolitionist organizations Black and Pink and Critical Resistance in 2017. “We thought it’d be a one-off collection,” Cendre recalled. “And then the P.O. box was just flooded.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>ABO has since paid incarcerated artists roughly $15,000 for contributions to standalone collections and three anthologies. The growing nonprofit, sponsored by the Queer Cultural Center, was recently awarded a California Arts Council grant to develop prison-based graphic-novel curriculum. It’s also received more than 1,200 pieces of mail from prisoners. On Saturday, Dec. 14, ABO celebrates the \u003ca href=\"http://www.abocomix.com/store/p38/abo3.html\">third anthology\u003c/a>’s release at Classic Cars West with a set by punk band Anti-Repression Music, which collaborates with incarcerated writers.\u003c/p>\n\u003cp>ABO is part of a larger movement centering prison abolition, the belief that the prison-industrial complex must be dismantled instead of reformed, in the struggle for queer and transgender liberation in light of the way LGBTQ people are disproportionately policed and incarcerated. \u003ca href=\"https://www.blackandpink.org/\">Black and Pink\u003c/a>, one of the national organizations that inspired ABO, boasts more than 10,000 members “on the inside,” and describes its mission as to “abolish the criminal punishment system.”\u003c/p>\n\u003cp>Popular media such as \u003cem>Orange is the New Black\u003c/em> have also buoyed trans prisoner visibility. Rachel Kushner set much of her abolition-inflected 2018 novel \u003cem>The Mars Room\u003c/em> in a California women’s prison, and included a trans-masculine character named Conan. Early in the book, while discussing muscle cars, Conan passingly references how the prison system invalidates his gender identity. “If I was a dude I’d be like I am right now,” he says. “‘Cept not locked up.”\u003c/p>\n\u003cfigure id=\"attachment_13870934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-800x450.jpg\" alt=\"ABO Comix has received more than 1,200 pieces of mail from LGBTQ prisoners since 2017.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO.jpg 1829w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ABO Comix has received more than 1,200 pieces of mail from LGBTQ prisoners since 2017. \u003ccite>(Casper Cendre/Courtesy ABO Comix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The movement is deeply rooted in the Bay Area: The Oakland-headquartered \u003ca href=\"http://criticalresistance.org/\">Critical Resistance\u003c/a> popularized the phrase “prison-industrial complex,” and local writers Eric A. Stanley and Nat Smith co-edited \u003cem>Captive Genders\u003c/em>, an influential collection of essays on trans-embodiment and incarceration published by AK Press in 2015. One strategy these activists promote in order to mitigate state violence against LGBTQ prisoners is writing letters.\u003c/p>\n\u003cp>Many ABO artists are serving life sentences; often they’ve been incarcerated for decades, and their ties to outside kin are broken. “So mostly we form friendships, send birthday and holiday cards, or reference photos for their art,” Cendre said. “Basic human needs.” In prison, word of reliable pen pals travels, and ABO’s contributor clusters have spread from Texas and California to throughout the country.\u003c/p>\n\u003cp>Because ABO’s main audience is prisoners—it sends publications free upon request, and earns money when people buy them online on prisoners’ behalf—the publisher self-censors content, such as nudity, to accommodate prison guidelines. Yet facilities in states such as Kentucky and Nebraska still reject mailings for “inciting violence” or “overt sexuality”—examples, according to Cendre, of how prison administrators perceive any challenge to gender normativity as a threat.\u003c/p>\n\u003cfigure id=\"attachment_13870952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870952\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/ABO.Casper-800x691.jpg\" alt=\"Casper Cendre co-founded ABO Comix in 2017.\" width=\"800\" height=\"691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-768x664.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-1020x881.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-1200x1037.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Casper Cendre co-founded ABO Comix in 2017. \u003ccite>(Illustration: Sabine Teyssonneyre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>ABO also plays the role of advocate. For example, when Cendre learned a pen pal suffered a stroke while isolation, through word from another prisoner, ABO volunteers inundated the facility with phone calls. (According to Black and Pink, queer prisoners are more likely to experience solitary confinement.) “Only then, days after the stroke, did he get any medical care,” Cendre said. Pressure from the outside, according to Cendre, can be more effective than from within because corrections officials tend to consider prisoner complaints illegitimate.\u003c/p>\n\u003cp>The publisher received more submissions for its first anthology than it could publish, but Cendre and other volunteers responded to every letter, often returning detailed feedback on the artwork. Sirbrian Spease, author of the \u003cem>Homo Thug’s Swagger\u003c/em> strip, sent his first-ever drawings, and then dozens more over the course of a year. His crude outlines developed into intricate shading and perspective, and facial expressions subtle enough to convey the kind of joy found in hell.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>ABO itself is often cast in the comic depictions of queer life in prison, referenced in speech bubbles and drawings of outgoing mail (or, in one strip, as the brand name of toiletries). \u003cem>Me and My Jelly Roll\u003c/em>, Jamie Diaz’s contribution to the third anthology about her “extreme hairstyle,” seems to be written with the confidence that, through ABO Comix, the author’s grievance will reach the outside world: “I want people to know what is going on in here with girls like us.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The comic publisher ABO Comix faces unique obstacles: Its authors communicate by mail, but they’re prohibited from earning a meaningful income, so they struggle to afford postage, let alone art supplies. Also, government censors read every letter, sometimes refusing deliveries. Yet the Oakland publisher supports dozens of incarcerated queer and transgender artists nationwide, distributing collections of their autobiographical work to other LGBTQ prisoners. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The perfect-bound collections are resources for and reflections of their primary audience: E.L. Tedana offers tips for the cell-bound illustrator, while Sirbrian Spease’s series \u003cem>Homo Thug’s Swagger\u003c/em> explores queer cliques and relationships behind bars. Jamie Diaz stylishly deflects pejoratives for trans women while her swooshing coif provokes the ire of prison officials. One strip of Kinoko’s camp \u003cem>Mami Mamasita and the Booyah Girlz\u003c/em> shows the prison yard as a stage, watchtowers shining spotlights, and H. Lee draws someone mailing themselves to a pen pal.\u003c/p>\n\u003cp>ABO’s existence is a reminder that LGBTQ people are incarcerated at twice the rate of the general population in the United States, according to the 2015 U.S. Transgender Survey, and the comics describe the medical neglect, sexual predation and violence they often face inside. The latest collection is dedicated to Joseph Oguntodu, a contributor who was killed in prison weeks before his parole in March after complaining in letters to ABO about racist, homophobic bullying.\u003c/p>\n\u003cp>“I want the queer community to be united,” reads a quote from one of Oguntodu’s many letters to ABO beneath his smiling portrait. “I love each of you. Don’t forget to do something kind.”\u003c/p>\n\u003cfigure id=\"attachment_13870953\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870953\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/ABO-1-800x545.jpg\" alt=\"Artwork by ABO contributors Metro (L) and Kinoko (R).\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-1200x817.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by ABO contributors Metro (L) and Kinoko (R). \u003ccite>(Courtesy ABO Comix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Casper Cendre, 29, who moved to Oakland from San Diego in 2015, co-founded \u003ca href=\"http://www.abocomix.com/\">ABO Comix\u003c/a> with Io Ascarium and Woof (who’ve both since stepped back from day-to-day operations). They launched the publisher with a call for submissions through the prison abolitionist organizations Black and Pink and Critical Resistance in 2017. “We thought it’d be a one-off collection,” Cendre recalled. “And then the P.O. box was just flooded.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>ABO has since paid incarcerated artists roughly $15,000 for contributions to standalone collections and three anthologies. The growing nonprofit, sponsored by the Queer Cultural Center, was recently awarded a California Arts Council grant to develop prison-based graphic-novel curriculum. It’s also received more than 1,200 pieces of mail from prisoners. On Saturday, Dec. 14, ABO celebrates the \u003ca href=\"http://www.abocomix.com/store/p38/abo3.html\">third anthology\u003c/a>’s release at Classic Cars West with a set by punk band Anti-Repression Music, which collaborates with incarcerated writers.\u003c/p>\n\u003cp>ABO is part of a larger movement centering prison abolition, the belief that the prison-industrial complex must be dismantled instead of reformed, in the struggle for queer and transgender liberation in light of the way LGBTQ people are disproportionately policed and incarcerated. \u003ca href=\"https://www.blackandpink.org/\">Black and Pink\u003c/a>, one of the national organizations that inspired ABO, boasts more than 10,000 members “on the inside,” and describes its mission as to “abolish the criminal punishment system.”\u003c/p>\n\u003cp>Popular media such as \u003cem>Orange is the New Black\u003c/em> have also buoyed trans prisoner visibility. Rachel Kushner set much of her abolition-inflected 2018 novel \u003cem>The Mars Room\u003c/em> in a California women’s prison, and included a trans-masculine character named Conan. Early in the book, while discussing muscle cars, Conan passingly references how the prison system invalidates his gender identity. “If I was a dude I’d be like I am right now,” he says. “‘Cept not locked up.”\u003c/p>\n\u003cfigure id=\"attachment_13870934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-800x450.jpg\" alt=\"ABO Comix has received more than 1,200 pieces of mail from LGBTQ prisoners since 2017.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO.jpg 1829w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ABO Comix has received more than 1,200 pieces of mail from LGBTQ prisoners since 2017. \u003ccite>(Casper Cendre/Courtesy ABO Comix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The movement is deeply rooted in the Bay Area: The Oakland-headquartered \u003ca href=\"http://criticalresistance.org/\">Critical Resistance\u003c/a> popularized the phrase “prison-industrial complex,” and local writers Eric A. Stanley and Nat Smith co-edited \u003cem>Captive Genders\u003c/em>, an influential collection of essays on trans-embodiment and incarceration published by AK Press in 2015. One strategy these activists promote in order to mitigate state violence against LGBTQ prisoners is writing letters.\u003c/p>\n\u003cp>Many ABO artists are serving life sentences; often they’ve been incarcerated for decades, and their ties to outside kin are broken. “So mostly we form friendships, send birthday and holiday cards, or reference photos for their art,” Cendre said. “Basic human needs.” In prison, word of reliable pen pals travels, and ABO’s contributor clusters have spread from Texas and California to throughout the country.\u003c/p>\n\u003cp>Because ABO’s main audience is prisoners—it sends publications free upon request, and earns money when people buy them online on prisoners’ behalf—the publisher self-censors content, such as nudity, to accommodate prison guidelines. Yet facilities in states such as Kentucky and Nebraska still reject mailings for “inciting violence” or “overt sexuality”—examples, according to Cendre, of how prison administrators perceive any challenge to gender normativity as a threat.\u003c/p>\n\u003cfigure id=\"attachment_13870952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870952\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/ABO.Casper-800x691.jpg\" alt=\"Casper Cendre co-founded ABO Comix in 2017.\" width=\"800\" height=\"691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-768x664.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-1020x881.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-1200x1037.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Casper Cendre co-founded ABO Comix in 2017. \u003ccite>(Illustration: Sabine Teyssonneyre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>ABO also plays the role of advocate. For example, when Cendre learned a pen pal suffered a stroke while isolation, through word from another prisoner, ABO volunteers inundated the facility with phone calls. (According to Black and Pink, queer prisoners are more likely to experience solitary confinement.) “Only then, days after the stroke, did he get any medical care,” Cendre said. Pressure from the outside, according to Cendre, can be more effective than from within because corrections officials tend to consider prisoner complaints illegitimate.\u003c/p>\n\u003cp>The publisher received more submissions for its first anthology than it could publish, but Cendre and other volunteers responded to every letter, often returning detailed feedback on the artwork. Sirbrian Spease, author of the \u003cem>Homo Thug’s Swagger\u003c/em> strip, sent his first-ever drawings, and then dozens more over the course of a year. His crude outlines developed into intricate shading and perspective, and facial expressions subtle enough to convey the kind of joy found in hell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>ABO itself is often cast in the comic depictions of queer life in prison, referenced in speech bubbles and drawings of outgoing mail (or, in one strip, as the brand name of toiletries). \u003cem>Me and My Jelly Roll\u003c/em>, Jamie Diaz’s contribution to the third anthology about her “extreme hairstyle,” seems to be written with the confidence that, through ABO Comix, the author’s grievance will reach the outside world: “I want people to know what is going on in here with girls like us.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>She was an organizer that proved invaluable to an entire generation of trans people. She helped to launch a magazine by and for non-gender conforming people. She’s the reason Dr. Alfred Kinsey’s landmark research into human sexual behavior included individuals living beyond the binary. And she never once stopped to take credit for any of it.\u003c/p>\n\u003cp>Her name was Louise Lawrence.\u003c/p>\n\u003cp>Born in 1912, and despite having always enjoyed wearing feminine attire at home, Louise tried for the first 30 years of her life to embrace being “Lew,” a responsible and low key young man. She found work as a bank clerk at the age of 18, and married twice—first in her teens, then once more after the death of her first wife. It was only after her divorce that Lawrence fully embraced who she knew she was on the inside, and began living full-time as a woman. And she moved from Berkeley to San Francisco to do so. [aside postid='pop_102855']\u003c/p>\n\u003cp>Unconsciously, she had been quietly preparing for this moment for years. Even while married, she regularly scoured newspapers for reports about public cross-dressing, and then reached out to the people who’d been arrested. In addition, she placed personal ads in the backs of magazines to find other trans and gender non-conforming people. Once in San Francisco, she made friends with drag performers at legendary North Beach club Finocchio’s, and later got involved with the city’s chapter of the \u003ca href=\"https://en.wikipedia.org/wiki/Mattachine_Society\" target=\"_blank\" rel=\"noopener noreferrer\">Mattachine Society\u003c/a>—one of the earliest LGBT organizations in America.\u003c/p>\n\u003cp>Such was her determination that, during a time when a great many trans and cross-dressing people felt obliged by law to live private lives, Lawrence saw fit to start lecturing doctors at UCSF, and assisting at its Langley Porter Clinic, with the goal of helping the medical profession understand that being transgender was not, in fact, a mental disorder.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Later, after \u003ca href=\"https://en.wikipedia.org/wiki/Christine_Jorgensen\" target=\"_blank\" rel=\"noopener noreferrer\">Christine Jorgensen\u003c/a> underwent high profile gender reassignment surgery in Denmark in 1952, Lawrence was said to have \u003ca href=\"https://www.hup.harvard.edu/catalog.php?isbn=9780674013797\" target=\"_blank\" rel=\"noopener noreferrer\">remarked\u003c/a>, “If only some of these American medical men could… not continually imagine that their own penis was removed when Christine’s was, maybe we would see some sound thoughtful, imaginative progress made in this field.”\u003c/p>\n\u003cp>Despite her frustration at not being able to break down barriers to healthcare more quickly, her work at UCSF is what led her, in 1948, to first come into contact with Dr. Alfred Kinsey—at the time the focus of national uproar for his book, \u003ca href=\"https://www.amazon.com/Sexual-Behavior-Human-Alfred-Kinsey/dp/0253334128\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sexual Behavior in the Human Male\u003c/em>\u003c/a>. By then, Lawrence had built a network of almost 200 other trans people across America and decided to share some of their stories with Kinsey. Gender variance, after all, had been glaringly absent from the sexologist’s landmark work. Lawrence didn’t just encourage Kinsey to include trans people in his 1953 follow-up—\u003ca href=\"https://www.amazon.com/Sexual-Behavior-Female-Alfred-Kinsey/dp/025333411X\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sexual Behavior in the Human Female\u003c/em>\u003c/a>—she helped directly to facilitate it.\u003c/p>\n\u003cp>In Joanne Meyerowitz’s paper, \u003ca href=\"https://www.jstor.org/stable/44445556?seq=1#metadata_info_tab_contents\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sex Research at the Borders of Gender: Transvestites, Transsexuals, and Alfred C. Kinsey\u003c/em>\u003c/a>, Lawrence is quoted as saying:\u003c/p>\n\u003cblockquote>\u003cp>In talking to Dr. Kinsey, I brought up… my interest in transvestism, and to my surprise he said that he thought the problem was relatively rare… I am very sure that it is much more common than most of us, even prominent doctors, are willing or able to admit. I was going to try and prove to [Kinsey] that I was right, and he encouraged me by saying that any facts or figures I could contribute would be valuable.\u003c/p>\u003c/blockquote>\n\u003cp>In the same paper, Lawrence also describes how she got her gender non-conforming friends to agree to interviews. “I try to point out the value of it, the sincerity of Dr. Kinsey, the complete anonymity,” she said, “as well as the personal pleasure they will get from the interview itself.”\u003c/p>\n\u003cp>By 1950, Lawrence had become invaluable to Kinsey; he employed her to transcribe life histories, interviews and transvestite fiction that erred on the side of kink. Lawrence, in turn, provided Kinsey with trans stories and novels, as well as her own personal correspondence, diaries and \u003ca href=\"https://cooper.edu/art/news/gender-myths-exploded\" target=\"_blank\" rel=\"noopener noreferrer\">scrapbooks\u003c/a> “filled with articles about same-sex couples living as man and woman.” Were it not for Lawrence’s contribution, it’s probable that “transexuals” would not have made it into Kinsey’s final works at all.\u003c/p>\n\u003cp>In addition, she also worked directly with, and informed the work of, pioneering endocrinologist and sexologist \u003ca href=\"https://en.wikipedia.org/wiki/Harry_Benjamin\" target=\"_blank\" rel=\"noopener noreferrer\">Harry Benjamin\u003c/a>, for whom she had an enormous amount of respect. Lawrence once \u003ca href=\"https://www.hup.harvard.edu/catalog.php?isbn=9780674013797\" target=\"_blank\" rel=\"noopener noreferrer\">described Benjamin\u003c/a> as: “one of the few medical men in this country who has any understanding of this problem.” It was he that encouraged her, in 1951, to publish an article in the \u003cem>International Journal of Sexology\u003c/em> titled “Transvestism: An Empirical Study.” (As usual, Lawrence shied away from the spotlight, writing it under a pseudonym, Janet Thompson.)\u003c/p>\n\u003cp>Still, for Lawrence, it wasn’t enough to merely reach the academics. In 1952, Lawrence co-founded the independent paper \u003cem>Transvestia—\u003c/em>most closely associated with \u003ca href=\"https://en.wikipedia.org/wiki/Virginia_Prince\" target=\"_blank\" rel=\"noopener noreferrer\">Virginia Prince\u003c/a>, who went on to edit it for over 20 years—with the aim of bringing wider “knowledge, acceptance [and] understanding” to the community. Importantly, it was Lawrence’s extensive network of LGBTQ+ people that raised enough money to get the publication off the ground in the first place.\u003c/p>\n\u003cfigure id=\"attachment_13870059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/transvestia-collage-800x371.jpg\" alt=\"Covers of ‘Transvestia’ courtesy of the University of Victoria's Rikki Swin Collection.\" width=\"800\" height=\"371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/transvestia-collage-800x371.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/transvestia-collage-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/transvestia-collage-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/transvestia-collage-1020x473.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/transvestia-collage-1200x557.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/transvestia-collage-1920x891.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Covers of ‘Transvestia’ courtesy of the University of Victoria’s Rikki Swin Collection.\u003c/figcaption>\u003c/figure>\n\u003cp>In the short documentary \u003ca href=\"https://www.youtube.com/watch?v=dQwS7LqfJys\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Safety in Numbers: A Trans History\u003c/em>\u003c/a>, Aaron Devor, chair of Transgender Studies at the University of Victoria, explains: “\u003cem>Transvestia\u003c/em> became a lifeline for people to communicate with each other, to learn that there were others like them. It also had a section at the back where people could put in ads for pen pals… and they could communicate with other people. So they could build community in that way.”\u003c/p>\n\u003cp>Louise Lawrence’s dedication to her own community was unsurpassed. Not only is she remembered for leaving her door open to individuals who traveled to San Francisco seeking gender confirming surgery, she is known to have counseled them too. It speaks volumes that both \u003ca href=\"https://www.wpath.org/\" target=\"_blank\" rel=\"noopener noreferrer\">WPATH (the World Professional Association for Transgender Health)\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Tri-Ess\" target=\"_blank\" rel=\"noopener noreferrer\">Tri-Ess\u003c/a> (an organization for heterosexual cross-dressers and their loved ones) \u003ca href=\"https://tgforum.com/news-from-the-uspath-convention/\" target=\"_blank\" rel=\"noopener noreferrer\">are said\u003c/a> to have been started in her kitchen in the very same year, 1972. [aside postid='pop_102774']\u003c/p>\n\u003cp>To be labeled as a trans or gender non-conforming person during the period Lawrence did her most outspoken work was to risk losing it all. Yet she never shied away from the difficult task of carving out space for herself and the multitude of others like her.\u003c/p>\n\u003cp>“I consider Louise to be my true identity even though the birth records say differently,” \u003ca href=\"https://zagria.blogspot.com/2009/05/louise-lawrence-1912-1976-activist.html#.XdZIqmRKg0Q\" target=\"_blank\" rel=\"noopener noreferrer\">she wrote\u003c/a> in the 1950s. “And on this I will stand. For to me, as to most people who know me, I AM Louise.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Editor’s Note: Some terms used in this story are rooted in a particular historical context. We’ve included words Louise used to describe herself and her community throughout her life, as referenced in historical accounts. If you’d like to learn more, see GLAAD’s \u003ca href=\"https://www.glaad.org/reference/transgender\" target=\"_blank\" rel=\"noopener noreferrer\">Media Reference Guide\u003c/a>. \u003c/em>\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>[ad floatright]\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>She was an organizer that proved invaluable to an entire generation of trans people. She helped to launch a magazine by and for non-gender conforming people. She’s the reason Dr. Alfred Kinsey’s landmark research into human sexual behavior included individuals living beyond the binary. And she never once stopped to take credit for any of it.\u003c/p>\n\u003cp>Her name was Louise Lawrence.\u003c/p>\n\u003cp>Born in 1912, and despite having always enjoyed wearing feminine attire at home, Louise tried for the first 30 years of her life to embrace being “Lew,” a responsible and low key young man. She found work as a bank clerk at the age of 18, and married twice—first in her teens, then once more after the death of her first wife. It was only after her divorce that Lawrence fully embraced who she knew she was on the inside, and began living full-time as a woman. And she moved from Berkeley to San Francisco to do so. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unconsciously, she had been quietly preparing for this moment for years. Even while married, she regularly scoured newspapers for reports about public cross-dressing, and then reached out to the people who’d been arrested. In addition, she placed personal ads in the backs of magazines to find other trans and gender non-conforming people. Once in San Francisco, she made friends with drag performers at legendary North Beach club Finocchio’s, and later got involved with the city’s chapter of the \u003ca href=\"https://en.wikipedia.org/wiki/Mattachine_Society\" target=\"_blank\" rel=\"noopener noreferrer\">Mattachine Society\u003c/a>—one of the earliest LGBT organizations in America.\u003c/p>\n\u003cp>Such was her determination that, during a time when a great many trans and cross-dressing people felt obliged by law to live private lives, Lawrence saw fit to start lecturing doctors at UCSF, and assisting at its Langley Porter Clinic, with the goal of helping the medical profession understand that being transgender was not, in fact, a mental disorder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Later, after \u003ca href=\"https://en.wikipedia.org/wiki/Christine_Jorgensen\" target=\"_blank\" rel=\"noopener noreferrer\">Christine Jorgensen\u003c/a> underwent high profile gender reassignment surgery in Denmark in 1952, Lawrence was said to have \u003ca href=\"https://www.hup.harvard.edu/catalog.php?isbn=9780674013797\" target=\"_blank\" rel=\"noopener noreferrer\">remarked\u003c/a>, “If only some of these American medical men could… not continually imagine that their own penis was removed when Christine’s was, maybe we would see some sound thoughtful, imaginative progress made in this field.”\u003c/p>\n\u003cp>Despite her frustration at not being able to break down barriers to healthcare more quickly, her work at UCSF is what led her, in 1948, to first come into contact with Dr. Alfred Kinsey—at the time the focus of national uproar for his book, \u003ca href=\"https://www.amazon.com/Sexual-Behavior-Human-Alfred-Kinsey/dp/0253334128\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sexual Behavior in the Human Male\u003c/em>\u003c/a>. By then, Lawrence had built a network of almost 200 other trans people across America and decided to share some of their stories with Kinsey. Gender variance, after all, had been glaringly absent from the sexologist’s landmark work. Lawrence didn’t just encourage Kinsey to include trans people in his 1953 follow-up—\u003ca href=\"https://www.amazon.com/Sexual-Behavior-Female-Alfred-Kinsey/dp/025333411X\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sexual Behavior in the Human Female\u003c/em>\u003c/a>—she helped directly to facilitate it.\u003c/p>\n\u003cp>In Joanne Meyerowitz’s paper, \u003ca href=\"https://www.jstor.org/stable/44445556?seq=1#metadata_info_tab_contents\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sex Research at the Borders of Gender: Transvestites, Transsexuals, and Alfred C. Kinsey\u003c/em>\u003c/a>, Lawrence is quoted as saying:\u003c/p>\n\u003cblockquote>\u003cp>In talking to Dr. Kinsey, I brought up… my interest in transvestism, and to my surprise he said that he thought the problem was relatively rare… I am very sure that it is much more common than most of us, even prominent doctors, are willing or able to admit. I was going to try and prove to [Kinsey] that I was right, and he encouraged me by saying that any facts or figures I could contribute would be valuable.\u003c/p>\u003c/blockquote>\n\u003cp>In the same paper, Lawrence also describes how she got her gender non-conforming friends to agree to interviews. “I try to point out the value of it, the sincerity of Dr. Kinsey, the complete anonymity,” she said, “as well as the personal pleasure they will get from the interview itself.”\u003c/p>\n\u003cp>By 1950, Lawrence had become invaluable to Kinsey; he employed her to transcribe life histories, interviews and transvestite fiction that erred on the side of kink. Lawrence, in turn, provided Kinsey with trans stories and novels, as well as her own personal correspondence, diaries and \u003ca href=\"https://cooper.edu/art/news/gender-myths-exploded\" target=\"_blank\" rel=\"noopener noreferrer\">scrapbooks\u003c/a> “filled with articles about same-sex couples living as man and woman.” Were it not for Lawrence’s contribution, it’s probable that “transexuals” would not have made it into Kinsey’s final works at all.\u003c/p>\n\u003cp>In addition, she also worked directly with, and informed the work of, pioneering endocrinologist and sexologist \u003ca href=\"https://en.wikipedia.org/wiki/Harry_Benjamin\" target=\"_blank\" rel=\"noopener noreferrer\">Harry Benjamin\u003c/a>, for whom she had an enormous amount of respect. Lawrence once \u003ca href=\"https://www.hup.harvard.edu/catalog.php?isbn=9780674013797\" target=\"_blank\" rel=\"noopener noreferrer\">described Benjamin\u003c/a> as: “one of the few medical men in this country who has any understanding of this problem.” It was he that encouraged her, in 1951, to publish an article in the \u003cem>International Journal of Sexology\u003c/em> titled “Transvestism: An Empirical Study.” (As usual, Lawrence shied away from the spotlight, writing it under a pseudonym, Janet Thompson.)\u003c/p>\n\u003cp>Still, for Lawrence, it wasn’t enough to merely reach the academics. In 1952, Lawrence co-founded the independent paper \u003cem>Transvestia—\u003c/em>most closely associated with \u003ca href=\"https://en.wikipedia.org/wiki/Virginia_Prince\" target=\"_blank\" rel=\"noopener noreferrer\">Virginia Prince\u003c/a>, who went on to edit it for over 20 years—with the aim of bringing wider “knowledge, acceptance [and] understanding” to the community. Importantly, it was Lawrence’s extensive network of LGBTQ+ people that raised enough money to get the publication off the ground in the first place.\u003c/p>\n\u003cfigure id=\"attachment_13870059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/transvestia-collage-800x371.jpg\" alt=\"Covers of ‘Transvestia’ courtesy of the University of Victoria's Rikki Swin Collection.\" width=\"800\" height=\"371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/transvestia-collage-800x371.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/transvestia-collage-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/transvestia-collage-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/transvestia-collage-1020x473.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/transvestia-collage-1200x557.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/transvestia-collage-1920x891.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Covers of ‘Transvestia’ courtesy of the University of Victoria’s Rikki Swin Collection.\u003c/figcaption>\u003c/figure>\n\u003cp>In the short documentary \u003ca href=\"https://www.youtube.com/watch?v=dQwS7LqfJys\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Safety in Numbers: A Trans History\u003c/em>\u003c/a>, Aaron Devor, chair of Transgender Studies at the University of Victoria, explains: “\u003cem>Transvestia\u003c/em> became a lifeline for people to communicate with each other, to learn that there were others like them. It also had a section at the back where people could put in ads for pen pals… and they could communicate with other people. So they could build community in that way.”\u003c/p>\n\u003cp>Louise Lawrence’s dedication to her own community was unsurpassed. Not only is she remembered for leaving her door open to individuals who traveled to San Francisco seeking gender confirming surgery, she is known to have counseled them too. It speaks volumes that both \u003ca href=\"https://www.wpath.org/\" target=\"_blank\" rel=\"noopener noreferrer\">WPATH (the World Professional Association for Transgender Health)\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Tri-Ess\" target=\"_blank\" rel=\"noopener noreferrer\">Tri-Ess\u003c/a> (an organization for heterosexual cross-dressers and their loved ones) \u003ca href=\"https://tgforum.com/news-from-the-uspath-convention/\" target=\"_blank\" rel=\"noopener noreferrer\">are said\u003c/a> to have been started in her kitchen in the very same year, 1972. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To be labeled as a trans or gender non-conforming person during the period Lawrence did her most outspoken work was to risk losing it all. Yet she never shied away from the difficult task of carving out space for herself and the multitude of others like her.\u003c/p>\n\u003cp>“I consider Louise to be my true identity even though the birth records say differently,” \u003ca href=\"https://zagria.blogspot.com/2009/05/louise-lawrence-1912-1976-activist.html#.XdZIqmRKg0Q\" target=\"_blank\" rel=\"noopener noreferrer\">she wrote\u003c/a> in the 1950s. “And on this I will stand. For to me, as to most people who know me, I AM Louise.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Editor’s Note: Some terms used in this story are rooted in a particular historical context. We’ve included words Louise used to describe herself and her community throughout her life, as referenced in historical accounts. If you’d like to learn more, see GLAAD’s \u003ca href=\"https://www.glaad.org/reference/transgender\" target=\"_blank\" rel=\"noopener noreferrer\">Media Reference Guide\u003c/a>. \u003c/em>\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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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"content": "\u003cp>As a black gay kid growing up in Texas in the 1990s, poet Saeed Jones remembers getting negative messages about his identity from every aspect of his life. It was around the time of \u003ca href=\"https://www.npr.org/2018/10/20/659122600/matthew-shepard-laid-to-rest-20-years-after-his-death\">Matthew Shepard\u003c/a>‘s murder in Wyoming, and Jones felt alone and unsafe.\u003c/p>\n\u003cp>“I was seeing these cautionary tales connected to identity,” he says. “It was so clear that it was perilous to be a black gay boy in America.”\u003c/p>\n\u003cp>And yet he couldn’t be any other way: “Being gay isn’t a choice, just like being black isn’t a choice,” Jones says. “I don’t stop. I do not give up. I do not take America’s ‘no’ to my identity for an answer.”\u003c/p>\n\u003cp>In his new coming-of-age memoir, \u003cem>How We Fight for Our Lives,\u003c/em> Jones reflects on his struggle to embrace his identity. The “we” in the title is intentional; he hopes the book will spark a conversation among a cross section of readers.\u003c/p>\n\u003cp>“We’re all struggling,” he says. “I want you to experience what’s going on in my book and think about it in relation to your own life, whether that’s because you’re like, ‘Oh this is totally different!’ Or because you’re like, ‘Hmm. This is really familiar.’ I think that’s a useful way of thinking about memoir.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On his first sexual encounter with a man, hooking up in a library bathroom and trying to kiss and being refused \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He was like, “Oh, absolutely not.” And so I felt embarrassed and I think the only thing more painful than not getting what you want is almost getting it and then being shamed right at the last minute. …\u003c/p>\n\u003cp>I was deeply ashamed. I thought I had messed up. But I think really he admitted he couldn’t go there. He was working through some things, and so he was ashamed of what he was feeling or not feeling. I think that’s something that, whether people are in the closet or not, they continue to struggle with, being vulnerable and true intimacy. I think it’s possible to have sex with someone and not be intimate with them, and that’s kind of what it looks like sometimes.\u003c/p>\n\u003cp>\u003cstrong>On equating sex with death because of AIDS \u003c/strong>\u003c/p>\n\u003cp>I think this is true for my generation. I’m 33 years old. I was born in 1985 and I would say until, frankly, the last two or three years — with the introduction of \u003ca href=\"https://www.npr.org/sections/health-shots/2019/05/30/727731380/old-fight-new-front-aids-activists-want-lower-drug-prices-now\">PrEP/Truvada\u003c/a> — for most gay men, a defining aspect of our sexual experiences has been an awareness of not just STIs (STDs that we all need to be aware of and thoughtful about), but, “Am I going to get HIV/AIDS?” Which is no longer a death sentence, as I understood it at the time. But certainly, that is a lifelong condition that’s going to require treatment and support. There is a heaviness to that. There is a deep sense of foreboding that I think often turns into shame with time, because it feels like you’re risking punishment.\u003c/p>\n\u003cp>\u003cstrong>On coming out to his mom by making a joke\u003c/strong>\u003c/p>\n\u003cp>I’d gotten a little memento from my speech team to celebrate the year or whatever, and everyone had a little motto, and my motto was like, “Not even his clothes are in the closet anymore,” which I thought was very funny. And so I was talking to her about it and she was like, “What does that mean?” And I was like, “My clothes aren’t in the closet anymore. Like I’m not in the closet anymore.” She didn’t find it funny. She was confused and she had a lot of follow-up questions. And that’s how I ended up coming out to her. …\u003c/p>\n\u003cp>I’m such a Sagittarius. I am a practical joker, like, I love to laugh, but I felt like I had messed up. This was actually really significant to her. And that I’d been cracking jokes on a moment that I had been waiting for years, right? And so I felt really bad, but then she called me back and was like, “Hey, I forgot to say, I love you, and you seem happy and that’s all that matters, you know?” And that meant the world to me. It was really important for me to see that.\u003c/p>\n\u003cp>\u003cstrong>On how he “erased” himself in order to have a good relationship with his mother \u003c/strong>\u003c/p>\n\u003cp>We laughed a lot. We could talk about literally anything except my being gay, which began to feel more and more like a void. But you know, we talked about the news, and we would laugh, and she was so proud of how I was doing in school and as a student and in speech. … It’s this weird dynamic where you’re struggling and you end up prioritizing the other person’s feelings over your own, and I did it because I loved her. I did it because I felt like I was causing her pain by trying to talk about this, but she was still my mom. I needed to have her wisdom in terms of love and relationships, and I didn’t get it, and really struggled as a result.\u003c/p>\n\u003cp>\u003cstrong>On knowing he was a writer from an early age\u003c/strong>\u003c/p>\n\u003cp>It was the thing that I could always count on to get praised [for] in school. … Middle school was when I started really going for it, like asking for extra credit, and like taking risks and doing more. Then also in literature discussions about short stories and fiction or whatever, it all made so much sense to me. I remember learning the narrative arc in maybe the eighth grade — resolution and climax — and it just made sense. I was like, “Oh, duh! Duh.” And I literally never heard it before … but kind of like with queerness, it felt like I was being given language to explain something I already understood. I just get it. It’s just in me.\u003c/p>\n\u003cp>\u003cstrong>On why he moved to Columbus, Ohio after Trump became president \u003c/strong>\u003c/p>\n\u003cp>Honestly, America’s depressing, right? If you’re paying attention in any substantive capacity, America is really stressful and anxiety-inducing and depressing. And I now understand that as an adult, and it’s not [my] fault. And then Trump became president, and truth is, on Inauguration Day, January 2017, I had a total breakdown. I had an absolute breakdown. I knew it was coming because I took a personal day, so I was home so I already knew on some level. But I remember watching Barack Obama and Michelle Obama walking to the helicopter, and I absolutely fell apart. I could not stop crying, and I opened the knife drawer in my kitchen. I was looking at those knives and I started saying, “I can’t go back. I can’t go back. Please don’t make me go back.” And the “back” was the months after my mom passed away. It was the worst, the most raw I had ever felt, and I’m glad that I talked to a friend and I started therapy and that helped tremendously.\u003c/p>\n\u003cp>But, you know, the last few years working in media [at BuzzFeed], it’s required so much of all of us, really, and certainly people [for whom] this is our job to talk about these issues: We can’t just turn off our phones and stop reading the news, unfortunately. That’s a high demand. And I was starting to feel really threadbare on an ongoing basis. And so I knew I wanted to change. And so I wanted to leave New York and I wanted to leave media in the way I was working in it, to go back to the basics.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Roberta Shorrock and Seth Kelley produced and edited the audio of this interview. Bridget Bentz and Molly Seavy-Nesper adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27We%27re+All+Struggling%27%3A+Writer+Saeed+Jones+Reflects+On+Identity+And+Acceptance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a black gay kid growing up in Texas in the 1990s, poet Saeed Jones remembers getting negative messages about his identity from every aspect of his life. It was around the time of \u003ca href=\"https://www.npr.org/2018/10/20/659122600/matthew-shepard-laid-to-rest-20-years-after-his-death\">Matthew Shepard\u003c/a>‘s murder in Wyoming, and Jones felt alone and unsafe.\u003c/p>\n\u003cp>“I was seeing these cautionary tales connected to identity,” he says. “It was so clear that it was perilous to be a black gay boy in America.”\u003c/p>\n\u003cp>And yet he couldn’t be any other way: “Being gay isn’t a choice, just like being black isn’t a choice,” Jones says. “I don’t stop. I do not give up. I do not take America’s ‘no’ to my identity for an answer.”\u003c/p>\n\u003cp>In his new coming-of-age memoir, \u003cem>How We Fight for Our Lives,\u003c/em> Jones reflects on his struggle to embrace his identity. The “we” in the title is intentional; he hopes the book will spark a conversation among a cross section of readers.\u003c/p>\n\u003cp>“We’re all struggling,” he says. “I want you to experience what’s going on in my book and think about it in relation to your own life, whether that’s because you’re like, ‘Oh this is totally different!’ Or because you’re like, ‘Hmm. This is really familiar.’ I think that’s a useful way of thinking about memoir.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On his first sexual encounter with a man, hooking up in a library bathroom and trying to kiss and being refused \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He was like, “Oh, absolutely not.” And so I felt embarrassed and I think the only thing more painful than not getting what you want is almost getting it and then being shamed right at the last minute. …\u003c/p>\n\u003cp>I was deeply ashamed. I thought I had messed up. But I think really he admitted he couldn’t go there. He was working through some things, and so he was ashamed of what he was feeling or not feeling. I think that’s something that, whether people are in the closet or not, they continue to struggle with, being vulnerable and true intimacy. I think it’s possible to have sex with someone and not be intimate with them, and that’s kind of what it looks like sometimes.\u003c/p>\n\u003cp>\u003cstrong>On equating sex with death because of AIDS \u003c/strong>\u003c/p>\n\u003cp>I think this is true for my generation. I’m 33 years old. I was born in 1985 and I would say until, frankly, the last two or three years — with the introduction of \u003ca href=\"https://www.npr.org/sections/health-shots/2019/05/30/727731380/old-fight-new-front-aids-activists-want-lower-drug-prices-now\">PrEP/Truvada\u003c/a> — for most gay men, a defining aspect of our sexual experiences has been an awareness of not just STIs (STDs that we all need to be aware of and thoughtful about), but, “Am I going to get HIV/AIDS?” Which is no longer a death sentence, as I understood it at the time. But certainly, that is a lifelong condition that’s going to require treatment and support. There is a heaviness to that. There is a deep sense of foreboding that I think often turns into shame with time, because it feels like you’re risking punishment.\u003c/p>\n\u003cp>\u003cstrong>On coming out to his mom by making a joke\u003c/strong>\u003c/p>\n\u003cp>I’d gotten a little memento from my speech team to celebrate the year or whatever, and everyone had a little motto, and my motto was like, “Not even his clothes are in the closet anymore,” which I thought was very funny. And so I was talking to her about it and she was like, “What does that mean?” And I was like, “My clothes aren’t in the closet anymore. Like I’m not in the closet anymore.” She didn’t find it funny. She was confused and she had a lot of follow-up questions. And that’s how I ended up coming out to her. …\u003c/p>\n\u003cp>I’m such a Sagittarius. I am a practical joker, like, I love to laugh, but I felt like I had messed up. This was actually really significant to her. And that I’d been cracking jokes on a moment that I had been waiting for years, right? And so I felt really bad, but then she called me back and was like, “Hey, I forgot to say, I love you, and you seem happy and that’s all that matters, you know?” And that meant the world to me. It was really important for me to see that.\u003c/p>\n\u003cp>\u003cstrong>On how he “erased” himself in order to have a good relationship with his mother \u003c/strong>\u003c/p>\n\u003cp>We laughed a lot. We could talk about literally anything except my being gay, which began to feel more and more like a void. But you know, we talked about the news, and we would laugh, and she was so proud of how I was doing in school and as a student and in speech. … It’s this weird dynamic where you’re struggling and you end up prioritizing the other person’s feelings over your own, and I did it because I loved her. I did it because I felt like I was causing her pain by trying to talk about this, but she was still my mom. I needed to have her wisdom in terms of love and relationships, and I didn’t get it, and really struggled as a result.\u003c/p>\n\u003cp>\u003cstrong>On knowing he was a writer from an early age\u003c/strong>\u003c/p>\n\u003cp>It was the thing that I could always count on to get praised [for] in school. … Middle school was when I started really going for it, like asking for extra credit, and like taking risks and doing more. Then also in literature discussions about short stories and fiction or whatever, it all made so much sense to me. I remember learning the narrative arc in maybe the eighth grade — resolution and climax — and it just made sense. I was like, “Oh, duh! Duh.” And I literally never heard it before … but kind of like with queerness, it felt like I was being given language to explain something I already understood. I just get it. It’s just in me.\u003c/p>\n\u003cp>\u003cstrong>On why he moved to Columbus, Ohio after Trump became president \u003c/strong>\u003c/p>\n\u003cp>Honestly, America’s depressing, right? If you’re paying attention in any substantive capacity, America is really stressful and anxiety-inducing and depressing. And I now understand that as an adult, and it’s not [my] fault. And then Trump became president, and truth is, on Inauguration Day, January 2017, I had a total breakdown. I had an absolute breakdown. I knew it was coming because I took a personal day, so I was home so I already knew on some level. But I remember watching Barack Obama and Michelle Obama walking to the helicopter, and I absolutely fell apart. I could not stop crying, and I opened the knife drawer in my kitchen. I was looking at those knives and I started saying, “I can’t go back. I can’t go back. Please don’t make me go back.” And the “back” was the months after my mom passed away. It was the worst, the most raw I had ever felt, and I’m glad that I talked to a friend and I started therapy and that helped tremendously.\u003c/p>\n\u003cp>But, you know, the last few years working in media [at BuzzFeed], it’s required so much of all of us, really, and certainly people [for whom] this is our job to talk about these issues: We can’t just turn off our phones and stop reading the news, unfortunately. That’s a high demand. And I was starting to feel really threadbare on an ongoing basis. And so I knew I wanted to change. And so I wanted to leave New York and I wanted to leave media in the way I was working in it, to go back to the basics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Roberta Shorrock and Seth Kelley produced and edited the audio of this interview. Bridget Bentz and Molly Seavy-Nesper adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27We%27re+All+Struggling%27%3A+Writer+Saeed+Jones+Reflects+On+Identity+And+Acceptance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Now in its 23rd year, the world’s first and longest-running transgender and gender non-conforming film festival is taking over the Roxie once more for four days this November.\u003c/p>\n\u003cp>The array of movies featured this year serve to challenge negative stereotypes, shine a light on the richness and diversity of the transgender community, and to ultimately “build community and engage audiences in cross-community dialogue.”\u003c/p>\n\u003cp>You can get a taste of what’s to come during this year’s schedule in the preview below:\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=58&v=NeqwC3OFNvk\u003c/p>\n\u003cp>Film highlights this year include: \u003ca href=\"https://transfinitefilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>TRANSFINITE\u003c/em>\u003c/a>, a sci-fi collection of seven short stories in which a diverse array of queer heroes use their superpowers to thrive; \u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-5/\" target=\"_blank\" rel=\"noopener\">\u003cem>Tender\u003c/em>\u003c/a>, the story of three black trans women surviving in the Tenderloin; and \u003ca href=\"https://www.dazeddigital.com/film-tv/article/44821/1/denim-film-jazz-jennings-daryen-run-interview-lgbt-trans-stories\" target=\"_blank\" rel=\"noopener\">\u003cem>Denim\u003c/em>\u003c/a>, the story of a transgender girl being outed by a classmate after an encounter in the school bathroom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The San Francisco Transgender Film Festival was co-founded in 1997 by \u003ca href=\"https://en.wikipedia.org/wiki/Christopher_Lee_(activist)\" target=\"_blank\" rel=\"noopener\">Christopher Lee\u003c/a> and Alex Austin, after Austin came across a movie about Lee’s gender transition—\u003cem>Christopher’s Chronicles—\u003c/em>in the course of producing Oakland’s first LGBT film festival, Alternate Vision.\u003c/p>\n\u003cp>Lee, who passed away in 2012, is often remembered for being the first trans man to serve as the Grand Marshal at the San Francisco Pride Parade. He was honored earlier this year at the Stonewall National Monument, where he was inducted onto the National \u003ca href=\"https://en.wikipedia.org/wiki/National_LGBTQ_Wall_of_Honor\" target=\"_blank\" rel=\"noopener\">LGBTQ Wall of Honor\u003c/a>, which remembers “pioneers, trailblazers and heroes” in the community.\u003c/p>\n\u003cp>Austin and Lee brought on musician, activist and filmmaker \u003ca href=\"http://sftff.org/artistic-director/\" target=\"_blank\" rel=\"noopener\">Shawna Virago\u003c/a> as a co-director in 2003, and she remains artistic director of the Transgender Film Festival today. At the 20th anniversary of the festival, she noted that putting it together every year was an annual labor of love. “We’ve survived on our trans smarts, sweat,” she said, “and love from our communities.”\u003c/p>\n\u003cp>The full San Francisco Transgender Film Festival schedule is as follows:\u003cbr>\n\u003ca href=\"https://www.roxie.com/ai1ec_event/san-francisco-transgender-film-festival-program-1/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 1\u003c/a> (Nov. 7): \u003cem>Transfinite\u003c/em>\u003cbr>\n\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-2/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 2\u003c/a> (Nov. 8): \u003cem>The Whistle, Denim\u003cbr>\n\u003c/em>\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-3/\" target=\"_blank\" rel=\"noopener\">Program 3\u003c/a> (Nov. 9): \u003cem>Sweet and Tender Hooligan, I-57, Feeling Like An Orchid, Consonance, Unbecoming, Trans 128\u003cbr>\n\u003c/em>\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-4/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 4\u003c/a> (Nov. 9): \u003cem>Eat Rich, Feminina, To Be With You, Get Off My Terf!, Across, Beyond and Over, This is For Us\u003cbr>\n\u003c/em>\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-5/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 5\u003c/a> (Nov. 10): \u003cem>Mark, Tender, Turning, Boiler\u003c/em>\u003cbr>\n\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-6/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 6\u003c/a> (Nov. 10):\u003cem>The Drum Tower, Run!, People Like Me, Carving Space\u003c/em>, and \u003cem>Honor Black Trans Women!\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Note: Screenings on Nov. 7 and 8 will include closed captioning and ASL interpretations. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now in its 23rd year, the world’s first and longest-running transgender and gender non-conforming film festival is taking over the Roxie once more for four days this November.\u003c/p>\n\u003cp>The array of movies featured this year serve to challenge negative stereotypes, shine a light on the richness and diversity of the transgender community, and to ultimately “build community and engage audiences in cross-community dialogue.”\u003c/p>\n\u003cp>You can get a taste of what’s to come during this year’s schedule in the preview below:\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/NeqwC3OFNvk'\n title='//www.youtube.com/embed/NeqwC3OFNvk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Film highlights this year include: \u003ca href=\"https://transfinitefilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>TRANSFINITE\u003c/em>\u003c/a>, a sci-fi collection of seven short stories in which a diverse array of queer heroes use their superpowers to thrive; \u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-5/\" target=\"_blank\" rel=\"noopener\">\u003cem>Tender\u003c/em>\u003c/a>, the story of three black trans women surviving in the Tenderloin; and \u003ca href=\"https://www.dazeddigital.com/film-tv/article/44821/1/denim-film-jazz-jennings-daryen-run-interview-lgbt-trans-stories\" target=\"_blank\" rel=\"noopener\">\u003cem>Denim\u003c/em>\u003c/a>, the story of a transgender girl being outed by a classmate after an encounter in the school bathroom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The San Francisco Transgender Film Festival was co-founded in 1997 by \u003ca href=\"https://en.wikipedia.org/wiki/Christopher_Lee_(activist)\" target=\"_blank\" rel=\"noopener\">Christopher Lee\u003c/a> and Alex Austin, after Austin came across a movie about Lee’s gender transition—\u003cem>Christopher’s Chronicles—\u003c/em>in the course of producing Oakland’s first LGBT film festival, Alternate Vision.\u003c/p>\n\u003cp>Lee, who passed away in 2012, is often remembered for being the first trans man to serve as the Grand Marshal at the San Francisco Pride Parade. He was honored earlier this year at the Stonewall National Monument, where he was inducted onto the National \u003ca href=\"https://en.wikipedia.org/wiki/National_LGBTQ_Wall_of_Honor\" target=\"_blank\" rel=\"noopener\">LGBTQ Wall of Honor\u003c/a>, which remembers “pioneers, trailblazers and heroes” in the community.\u003c/p>\n\u003cp>Austin and Lee brought on musician, activist and filmmaker \u003ca href=\"http://sftff.org/artistic-director/\" target=\"_blank\" rel=\"noopener\">Shawna Virago\u003c/a> as a co-director in 2003, and she remains artistic director of the Transgender Film Festival today. At the 20th anniversary of the festival, she noted that putting it together every year was an annual labor of love. “We’ve survived on our trans smarts, sweat,” she said, “and love from our communities.”\u003c/p>\n\u003cp>The full San Francisco Transgender Film Festival schedule is as follows:\u003cbr>\n\u003ca href=\"https://www.roxie.com/ai1ec_event/san-francisco-transgender-film-festival-program-1/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 1\u003c/a> (Nov. 7): \u003cem>Transfinite\u003c/em>\u003cbr>\n\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-2/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 2\u003c/a> (Nov. 8): \u003cem>The Whistle, Denim\u003cbr>\n\u003c/em>\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-3/\" target=\"_blank\" rel=\"noopener\">Program 3\u003c/a> (Nov. 9): \u003cem>Sweet and Tender Hooligan, I-57, Feeling Like An Orchid, Consonance, Unbecoming, Trans 128\u003cbr>\n\u003c/em>\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-4/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 4\u003c/a> (Nov. 9): \u003cem>Eat Rich, Feminina, To Be With You, Get Off My Terf!, Across, Beyond and Over, This is For Us\u003cbr>\n\u003c/em>\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-5/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 5\u003c/a> (Nov. 10): \u003cem>Mark, Tender, Turning, Boiler\u003c/em>\u003cbr>\n\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-6/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 6\u003c/a> (Nov. 10):\u003cem>The Drum Tower, Run!, People Like Me, Carving Space\u003c/em>, and \u003cem>Honor Black Trans Women!\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Note: Screenings on Nov. 7 and 8 will include closed captioning and ASL interpretations. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "20 Years Later, 'Boys Don't Cry' Still Inspires Admiration and Debate",
"headTitle": "20 Years Later, ‘Boys Don’t Cry’ Still Inspires Admiration and Debate | KQED",
"content": "\u003cp>\u003cem>Boys Don’t Cry\u003c/em> opened in theaters Oct. 22, 1999, first on 25 screens before spreading to hundreds. It became a runaway hit that drew rave reviews for its empathetic portrayal of a young person on a quest for love and acceptance—based on the true story of murdered Nebraskan Brandon Teena—at a time when transgender characters were just not represented on screen.\u003c/p>\n\u003cp>When Riki Wilchins began transitioning in the late 1970s, she says there was very little trans visibility, even in large cities.\u003c/p>\n\u003cp>“Trans people were like unicorns,” Wilchins says. “I mean, no one had actually seen one in the wild. There was really no one to talk to. The term transgender wasn’t even in use.”\u003c/p>\n\u003cp>In the early 1990s, Wilchins co-founded Transexual Menace, one of the first transgender rights organizations. Among its first goals was the documentation of anti-trans murders, which often went unreported. And when they were, says Wilchins, the stories were often coded.\u003c/p>\n\u003cp>“When trans people were killed the only way we would find out about it was there would be four paragraphs in the back of the local paper, you know, ‘Man Found Wearing Articles Of Women’s Clothing Murdered In Alley,’ says Wilchins. “And that meant that a transgender woman had been violently murdered, but you had to kind of read backwards.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The murder of 21-year-old Brandon Teena was different—it garnered national headlines. In 1993, Teena was killed in the town of Humboldt, Neb., along with two witnesses, Lisa Lambert and Phillip DeVine. The brutal triple homicide garnered salacious, victim-blaming headlines, such as “\u003ca href=\"https://www.apnews.com/6d811e00773d86e37fe99d58b7b5b4ad\">Cross-Dresser Killed Two Weeks After Town Learned Her True Identity\u003c/a>.”\u003c/p>\n\u003cp>When two men stood trial for the murders, members of Transexual Menace and their allies planned a vigil outside the Falls City, Neb. courthouse. They were met with a harsh reception, recalls Kimberly Peirce, who directed and co-wrote \u003cem>Boys Don’t Cry\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VqqqaV0Cn3M\u003c/p>\n\u003cp>“We were standing in front of the court building and guys would go by in their big truck and scream terrible things at us and throw things,” Peirce says. “And certainly us being there, you know, was catalyzing some kind of anger and that was scary.”\u003c/p>\n\u003cp>Peirce, then a graduate film student at Columbia University, had hitched a ride to the trial with Riki Wilchins and other members of Transexual Menace. She decided to make her thesis film about Brandon Teena after reading an article about him in the \u003ca href=\"https://www.villagevoice.com/2018/06/20/how-i-broke-and-botched-the-brandon-teena-story/\">\u003cem>Village Voice\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“I fell instantly in love with Brandon,” Peirce says. “I was coming at it as a person who was discovering my own gender queerness, and getting to know trans people, and saying, ‘Help me tell this story in a way that would be the most authentic.’ And I wanted to tell his story as a movie so that other people could empathize with him.”\u003c/p>\n\u003cp>Peirce’s thesis evolved into a full-length feature film, and over the next four years she immersed herself in Brandon Teena’s world, returning to Falls City to interview his girlfriend and other townspeople. When it was time to cast the film, she says hundreds of actors auditioned, starting with the trans community.\u003c/p>\n\u003cp>But Peirce says trans actors were harder to find than they are today. The part ultimately went to a relatively unknown cisgender actress: Hilary Swank. When Swank won an Oscar for Best Actress in a Leading Role for her portrayal of Brandon Teena, she used \u003ca href=\"https://www.youtube.com/watch?v=2zD5L-ja8O0\">her acceptance speech\u003c/a> to honor his courage.\u003c/p>\n\u003cp>As the first film to introduce mainstream audiences to a transgender man, \u003cem>Boys Don’t Cry\u003c/em> was a landmark, says Nick Adams, director of transgender representation at \u003ca href=\"https://www.glaad.org/\">GLAAD\u003c/a>. But today, Adams says we expect trans roles to be played by trans actors, who now appear in such popular television shows as \u003cem>Good Girls \u003c/em>and \u003cem>Grey’s Anatomy\u003c/em>. He points to \u003cem>Orange is the New Black\u003c/em>‘s Laverne Cox.\u003c/p>\n\u003cp>“Prior to \u003cem>Orange is the New Black\u003c/em>, almost every transgender character was portrayed by a cisgender actor,” Adams says. “And with transgender women, men playing them, which only reinforced in people’s minds that transgender women are not women, but just men in dresses.”\u003c/p>\n\u003cp>Transgender directors and writers also work behind the scenes on hits including \u003cem>Transparent\u003c/em> and \u003cem>Pose\u003c/em>.\u003c/p>\n\u003cp>At the same time, \u003cem>Boys Don’t Cry\u003c/em> has taken on a more complicated legacy. Some trans audiences object to the brutal violence depicted in the film, others to Peirce’s decision to cast a cisgender actress.\u003c/p>\n\u003cp>Wilchins says sure, the film might not be made the same way today, but Peirce doesn’t deserve the backlash.\u003c/p>\n\u003cp>“It’s not fair to go back and apply standards 20 years later that didn’t exist back then,” Wilchins says. “What she did is a major, major accomplishment. It legitimated and made possible all of these other representations that we’ve had since.”\u003c/p>\n\u003cp>That includes an increasing number of nonbinary characters who are portrayed by nonbinary actors. One of those actors, Asia Kate Dillon, of Showtime’s \u003cem>Billions\u003c/em>, has called on the major acting awards to \u003ca href=\"https://www.nytimes.com/2019/10/16/movies/oscars-gendered-categories.html?smid=nytcore-ios-share\">jettison gendered acting categories\u003c/a> altogether.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although visibility continues to expand, violence against trans people persists. According to \u003ca href=\"https://www.hrc.org/resources/violence-against-the-transgender-community-in-2019\">the most recent figures\u003c/a>, at least 19 trans people have been killed so far this year, the majority trans women of color. Nevertheless, Wilchins says she’s hopeful that will change, encouraged by \u003ca href=\"https://www.pewsocialtrends.org/2019/01/17/generation-z-looks-a-lot-like-millennials-on-key-social-and-political-issues/\">other recent studies\u003c/a> that indicate that binary definitions of gender have less meaning for the next generation.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=20+Years+Later%2C+%27Boys+Don%27t+Cry%27+Still+Inspires+Admiration+And+Debate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Boys Don’t Cry\u003c/em> opened in theaters Oct. 22, 1999, first on 25 screens before spreading to hundreds. It became a runaway hit that drew rave reviews for its empathetic portrayal of a young person on a quest for love and acceptance—based on the true story of murdered Nebraskan Brandon Teena—at a time when transgender characters were just not represented on screen.\u003c/p>\n\u003cp>When Riki Wilchins began transitioning in the late 1970s, she says there was very little trans visibility, even in large cities.\u003c/p>\n\u003cp>“Trans people were like unicorns,” Wilchins says. “I mean, no one had actually seen one in the wild. There was really no one to talk to. The term transgender wasn’t even in use.”\u003c/p>\n\u003cp>In the early 1990s, Wilchins co-founded Transexual Menace, one of the first transgender rights organizations. Among its first goals was the documentation of anti-trans murders, which often went unreported. And when they were, says Wilchins, the stories were often coded.\u003c/p>\n\u003cp>“When trans people were killed the only way we would find out about it was there would be four paragraphs in the back of the local paper, you know, ‘Man Found Wearing Articles Of Women’s Clothing Murdered In Alley,’ says Wilchins. “And that meant that a transgender woman had been violently murdered, but you had to kind of read backwards.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The murder of 21-year-old Brandon Teena was different—it garnered national headlines. In 1993, Teena was killed in the town of Humboldt, Neb., along with two witnesses, Lisa Lambert and Phillip DeVine. The brutal triple homicide garnered salacious, victim-blaming headlines, such as “\u003ca href=\"https://www.apnews.com/6d811e00773d86e37fe99d58b7b5b4ad\">Cross-Dresser Killed Two Weeks After Town Learned Her True Identity\u003c/a>.”\u003c/p>\n\u003cp>When two men stood trial for the murders, members of Transexual Menace and their allies planned a vigil outside the Falls City, Neb. courthouse. They were met with a harsh reception, recalls Kimberly Peirce, who directed and co-wrote \u003cem>Boys Don’t Cry\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VqqqaV0Cn3M'\n title='//www.youtube.com/embed/VqqqaV0Cn3M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We were standing in front of the court building and guys would go by in their big truck and scream terrible things at us and throw things,” Peirce says. “And certainly us being there, you know, was catalyzing some kind of anger and that was scary.”\u003c/p>\n\u003cp>Peirce, then a graduate film student at Columbia University, had hitched a ride to the trial with Riki Wilchins and other members of Transexual Menace. She decided to make her thesis film about Brandon Teena after reading an article about him in the \u003ca href=\"https://www.villagevoice.com/2018/06/20/how-i-broke-and-botched-the-brandon-teena-story/\">\u003cem>Village Voice\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“I fell instantly in love with Brandon,” Peirce says. “I was coming at it as a person who was discovering my own gender queerness, and getting to know trans people, and saying, ‘Help me tell this story in a way that would be the most authentic.’ And I wanted to tell his story as a movie so that other people could empathize with him.”\u003c/p>\n\u003cp>Peirce’s thesis evolved into a full-length feature film, and over the next four years she immersed herself in Brandon Teena’s world, returning to Falls City to interview his girlfriend and other townspeople. When it was time to cast the film, she says hundreds of actors auditioned, starting with the trans community.\u003c/p>\n\u003cp>But Peirce says trans actors were harder to find than they are today. The part ultimately went to a relatively unknown cisgender actress: Hilary Swank. When Swank won an Oscar for Best Actress in a Leading Role for her portrayal of Brandon Teena, she used \u003ca href=\"https://www.youtube.com/watch?v=2zD5L-ja8O0\">her acceptance speech\u003c/a> to honor his courage.\u003c/p>\n\u003cp>As the first film to introduce mainstream audiences to a transgender man, \u003cem>Boys Don’t Cry\u003c/em> was a landmark, says Nick Adams, director of transgender representation at \u003ca href=\"https://www.glaad.org/\">GLAAD\u003c/a>. But today, Adams says we expect trans roles to be played by trans actors, who now appear in such popular television shows as \u003cem>Good Girls \u003c/em>and \u003cem>Grey’s Anatomy\u003c/em>. He points to \u003cem>Orange is the New Black\u003c/em>‘s Laverne Cox.\u003c/p>\n\u003cp>“Prior to \u003cem>Orange is the New Black\u003c/em>, almost every transgender character was portrayed by a cisgender actor,” Adams says. “And with transgender women, men playing them, which only reinforced in people’s minds that transgender women are not women, but just men in dresses.”\u003c/p>\n\u003cp>Transgender directors and writers also work behind the scenes on hits including \u003cem>Transparent\u003c/em> and \u003cem>Pose\u003c/em>.\u003c/p>\n\u003cp>At the same time, \u003cem>Boys Don’t Cry\u003c/em> has taken on a more complicated legacy. Some trans audiences object to the brutal violence depicted in the film, others to Peirce’s decision to cast a cisgender actress.\u003c/p>\n\u003cp>Wilchins says sure, the film might not be made the same way today, but Peirce doesn’t deserve the backlash.\u003c/p>\n\u003cp>“It’s not fair to go back and apply standards 20 years later that didn’t exist back then,” Wilchins says. “What she did is a major, major accomplishment. It legitimated and made possible all of these other representations that we’ve had since.”\u003c/p>\n\u003cp>That includes an increasing number of nonbinary characters who are portrayed by nonbinary actors. One of those actors, Asia Kate Dillon, of Showtime’s \u003cem>Billions\u003c/em>, has called on the major acting awards to \u003ca href=\"https://www.nytimes.com/2019/10/16/movies/oscars-gendered-categories.html?smid=nytcore-ios-share\">jettison gendered acting categories\u003c/a> altogether.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although visibility continues to expand, violence against trans people persists. According to \u003ca href=\"https://www.hrc.org/resources/violence-against-the-transgender-community-in-2019\">the most recent figures\u003c/a>, at least 19 trans people have been killed so far this year, the majority trans women of color. Nevertheless, Wilchins says she’s hopeful that will change, encouraged by \u003ca href=\"https://www.pewsocialtrends.org/2019/01/17/generation-z-looks-a-lot-like-millennials-on-key-social-and-political-issues/\">other recent studies\u003c/a> that indicate that binary definitions of gender have less meaning for the next generation.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=20+Years+Later%2C+%27Boys+Don%27t+Cry%27+Still+Inspires+Admiration+And+Debate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Queer & Trans Artists of Color\u003c/em> is an ongoing project to collect people’s unique personal stories—before their stories disappear.\u003c/p>\n\u003cp>After two volumes in the series, a third is on its way. On Oct. 19 at East Bay Booksellers, co-editors \u003ca href=\"https://www.kqed.org/arts/13839078/bay-brilliant-nia-levy-king\" rel=\"noopener\" target=\"_blank\">Nia Levy King\u003c/a> and Maliha Ahmed host a book release party for \u003cem>Queer & Trans Artists of Color Vol. 3\u003c/em>, as featured artists from the book will be on hand to discuss the latest installment in the series.\u003c/p>\n\u003cp>Speakers include Oakland-based black queer writer \u003ca href=\"https://www.antjwilliams.com/\" target=\"_blank\" rel=\"noopener\">Anthony J. Williams\u003c/a>, San Jose’s trans Latina writer \u003ca href=\"http://luna.merbruja.com/\" target=\"_blank\" rel=\"noopener\">Luna Merbruja\u003c/a> and \u003ca href=\"https://www.pardislili.com/\" target=\"_blank\" rel=\"noopener\">Paradise Khanmalek\u003c/a>, a queer Iranian-American visual artist from Los Angeles.\u003c/p>\n\u003cp>The book is comprised of interviews from Nia Levy King’s podcast, \u003cem>We Want the Airwaves\u003c/em>, in which she interviews LGBTQ artists of color about their lives and their work. After the podcast reached its 100th episode this past summer, King has taken a short hiatus, but all episodes are currently available free \u003ca href=\"http://qtpocart.libsyn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">online\u003c/a>. A new episode is set to be released this month.\u003c/p>\n\u003cp>King, who has been\u003ca href=\"https://www.kqed.org/arts/13839078/bay-brilliant-nia-levy-king\" target=\"_blank\" rel=\"noopener\"> featured on KQED’s Bay Brilliant series\u003c/a>, says attendees of the event can expect a quality show. “I’ll be interviewing the artists live before the audience, talk-show style, and they may also read or perform some of their poetry and essays.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lastly, King noted that the book \u003cem>won’t\u003c/em> be available on Amazon. “People can buy the book here and get it signed by the author and some of the artists,” she says. “The launch is definitely the best place to get it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Queer & Trans Artists of Color\u003c/em> is an ongoing project to collect people’s unique personal stories—before their stories disappear.\u003c/p>\n\u003cp>After two volumes in the series, a third is on its way. On Oct. 19 at East Bay Booksellers, co-editors \u003ca href=\"https://www.kqed.org/arts/13839078/bay-brilliant-nia-levy-king\" rel=\"noopener\" target=\"_blank\">Nia Levy King\u003c/a> and Maliha Ahmed host a book release party for \u003cem>Queer & Trans Artists of Color Vol. 3\u003c/em>, as featured artists from the book will be on hand to discuss the latest installment in the series.\u003c/p>\n\u003cp>Speakers include Oakland-based black queer writer \u003ca href=\"https://www.antjwilliams.com/\" target=\"_blank\" rel=\"noopener\">Anthony J. Williams\u003c/a>, San Jose’s trans Latina writer \u003ca href=\"http://luna.merbruja.com/\" target=\"_blank\" rel=\"noopener\">Luna Merbruja\u003c/a> and \u003ca href=\"https://www.pardislili.com/\" target=\"_blank\" rel=\"noopener\">Paradise Khanmalek\u003c/a>, a queer Iranian-American visual artist from Los Angeles.\u003c/p>\n\u003cp>The book is comprised of interviews from Nia Levy King’s podcast, \u003cem>We Want the Airwaves\u003c/em>, in which she interviews LGBTQ artists of color about their lives and their work. After the podcast reached its 100th episode this past summer, King has taken a short hiatus, but all episodes are currently available free \u003ca href=\"http://qtpocart.libsyn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">online\u003c/a>. A new episode is set to be released this month.\u003c/p>\n\u003cp>King, who has been\u003ca href=\"https://www.kqed.org/arts/13839078/bay-brilliant-nia-levy-king\" target=\"_blank\" rel=\"noopener\"> featured on KQED’s Bay Brilliant series\u003c/a>, says attendees of the event can expect a quality show. “I’ll be interviewing the artists live before the audience, talk-show style, and they may also read or perform some of their poetry and essays.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lastly, King noted that the book \u003cem>won’t\u003c/em> be available on Amazon. “People can buy the book here and get it signed by the author and some of the artists,” she says. “The launch is definitely the best place to get it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'I Will Survive' Saves Marginalized People a Spot on the Dance Floor",
"headTitle": "‘I Will Survive’ Saves Marginalized People a Spot on the Dance Floor | KQED",
"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\" target=\"_blank\" rel=\"noopener\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>Gloria Gaynor has said she’s pretty sure her signature song, the 1978 disco smash “\u003ca href=\"https://www.youtube.com/watch?v=8f4mytaXttw\" target=\"_blank\" rel=\"noopener\">I Will Survive\u003c/a>,” was created just for her. But the singer had to go through a lot before she and the song found each other.\u003c/p>\n\u003cp>Her mother had died a couple years earlier, and Gaynor was still coping with that loss. Then her record label, Polydor, told her they were declining to renew her contract: She’d had a hit in 1975 with her cover of The Jackson 5’s “Never Can Say Goodbye,” but nothing huge since then, and they’d decided she was no longer a good investment. Gaynor soldiered on, but was slogging through a fog of grief and anxiety.\u003c/p>\n\u003cp>Shortly after Polydor told her she was being dropped, Gaynor slipped onstage during a performance at New York’s Beacon Theatre. She finished the performance, then went out to breakfast, and finally, home to bed. “I woke up the next morning paralyzed from the waist down,” she said in a \u003ca href=\"https://www.youtube.com/watch?v=7-Say4_E91w\" target=\"_blank\" rel=\"noopener\">2013 interview\u003c/a> with Audible, adding: “I’ve always believed that God allowed that to happen so he could get my attention.”\u003c/p>\n\u003cp>Attention secured, Gaynor focused on her recovery. She endured spinal surgery and a three-month hospital stay. When she was released, she left the hospital in an unwieldy back brace that she wore for many more months.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finally, after a few rough years, her luck began to turn. Polydor changed presidents, and the new guy was a fan. In fact, he was pretty sure he had a comeback hit for Gaynor: a song that a South African girl group had recently done well with, called “\u003ca href=\"https://www.youtube.com/watch?v=0sUhUO9Nny0\" target=\"_blank\" rel=\"noopener\">Substitute\u003c/a>.”\u003c/p>\n\u003cp>As it turned out, Polydor’s new president was unique in his enthusiasm for the record. In his eagerness to get it out, he cut a deal: Producer-songwriters Freddie Perren and Dino Fekaris agreed to record “Substitute” if they could put one of their own songs on the B-side of the single. They invited Gaynor in for a meeting to hear what kinds of lyrics felt most comfortable with performing. In the interview with Audible, she described what happened next.\u003c/p>\n\u003cp>“They said, ‘We think you’re the one that we’ve been waiting for to record this song that we wrote a couple of years ago,’ ” Gaynor explained. “When I read the lyrics, I realized the reason they’d been waiting for me to record that song was that God had given that song to them for them to set aside, waiting for him to get everything in order for me to meet up with them. And that song was ‘I Will Survive.'”\u003c/p>\n\u003cp>https://youtu.be/8f4mytaXttw\u003c/p>\n\u003cp>Drummer James Gadson, who in his career has backed up Marvin Gaye and Bill Withers and been featured on hundreds of hit records, was part of the studio band put together for the session. He tells NPR they spent hours laying down tracks for “Substitute,” and were about ready to wrap things up when Freddie Perren asked them to stay a little longer and do one more song.\u003c/p>\n\u003cp>“He said, ‘Well, man, I know everybody’s tired, but let’s just do this one song. In fact, I’ll do the intro.’ He was a great producer, played keyboards,” Gadson says, describing the arpeggio Perren played that became the song’s unmistakable opening sting.\u003c/p>\n\u003cp>“We just cut it and that was it, went home,” he says. “Three weeks later: \u003cem>bam\u003c/em>.”\u003c/p>\n\u003cp>Gaynor took advance copies of the single to Studio 54, the mecca of US discotheques — she’d often sung there, and knew the DJ. “He played it while we were standing there,” she said \u003ca href=\"https://www.npr.org/sections/world-cafe/2019/07/17/742634817/gloria-gaynor-disco-queen-goes-gospel\" target=\"_blank\" rel=\"noopener\">in an interview\u003c/a> with \u003cem>World Cafe\u003c/em> on NPR member station WXPN. “The audience immediately loved it, which told me this is a hit song. New Yorkers don’t immediately love \u003cem>anything\u003c/em> — they are so jaded.” The DJ liked it too — enough that he agreed to take copies and pass them along to other DJs.\u003c/p>\n\u003cp>Released in October 1978, “I Will Survive” was a near-instant hit, eclipsing the planned comeback song on the other side of the record. Within weeks it was playing everywhere, including Europe, where Gaynor was a longtime favorite. The song also coincided with the very beginning of the AIDS crisis, and found a particular resonance within the LGBT community.\u003c/p>\n\u003cp>Karen Tongson, a professor at the University of Southern California who often lectures on pop culture, says she remembers first hearing the song in the 1990s through its cover versions, then learning the history behind Gaynor’s original.\u003c/p>\n\u003cp>“It was especially significant for me, because I’d just come out,” she recalls. “The song had long associations with the LGBT community as an anthem … but in my newfound activism, in my new awareness around the different struggles the community faced — particularly around the AIDS crisis — I heard the song with new ears.” [aside postid='arts_13854644']\u003c/p>\n\u003cp>She wasn’t the only one. Beyond gay communities, “I Will Survive” has become a global anthem for those who have felt politically oppressed, physically challenged or otherwise pushed to society’s margins.\u003c/p>\n\u003cp>That includes survivors of domestic abuse, for whom Gloria Gaynor herself has become a spokesperson. Cindy Southworth heads the National Network to End Domestic Violence, where Gaynor is an advocate; she remembers when the singer appeared at the organization’s global conference in 2012.\u003c/p>\n\u003cp>“She sang her song,” Southworth says, “and singing along with her were 1,500 advocates from across the globe — many of them survivors themselves, singing in beautiful accents.”\u003c/p>\n\u003cp>Today, it’s hard to go through life without hearing some version of “I Will Survive.” Its operatic sweep makes it perfect for divas; Diana Ross, Aretha Franklin and Miss Piggy have all had a go. But it’s also been covered by Johnny Mathis and Cake, performed by marching bands and symphony orchestras.\u003c/p>\n\u003cp>Karen Tongson says it’s the progression of the lyrics from despair to empowerment that make “I Will Survive” a deeply personal song for a lot of people: “That chorus is like coming out of the dark and into the light.” Set to a driving beat, its message is one that anyone who hears it can claim as their own. It is an anthem for people who have survived whatever life has thrown at them.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Gloria Gaynor interview audio provided courtesy of Audible and WXPN’s World Café.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\" target=\"_blank\" rel=\"noopener\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>Gloria Gaynor has said she’s pretty sure her signature song, the 1978 disco smash “\u003ca href=\"https://www.youtube.com/watch?v=8f4mytaXttw\" target=\"_blank\" rel=\"noopener\">I Will Survive\u003c/a>,” was created just for her. But the singer had to go through a lot before she and the song found each other.\u003c/p>\n\u003cp>Her mother had died a couple years earlier, and Gaynor was still coping with that loss. Then her record label, Polydor, told her they were declining to renew her contract: She’d had a hit in 1975 with her cover of The Jackson 5’s “Never Can Say Goodbye,” but nothing huge since then, and they’d decided she was no longer a good investment. Gaynor soldiered on, but was slogging through a fog of grief and anxiety.\u003c/p>\n\u003cp>Shortly after Polydor told her she was being dropped, Gaynor slipped onstage during a performance at New York’s Beacon Theatre. She finished the performance, then went out to breakfast, and finally, home to bed. “I woke up the next morning paralyzed from the waist down,” she said in a \u003ca href=\"https://www.youtube.com/watch?v=7-Say4_E91w\" target=\"_blank\" rel=\"noopener\">2013 interview\u003c/a> with Audible, adding: “I’ve always believed that God allowed that to happen so he could get my attention.”\u003c/p>\n\u003cp>Attention secured, Gaynor focused on her recovery. She endured spinal surgery and a three-month hospital stay. When she was released, she left the hospital in an unwieldy back brace that she wore for many more months.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finally, after a few rough years, her luck began to turn. Polydor changed presidents, and the new guy was a fan. In fact, he was pretty sure he had a comeback hit for Gaynor: a song that a South African girl group had recently done well with, called “\u003ca href=\"https://www.youtube.com/watch?v=0sUhUO9Nny0\" target=\"_blank\" rel=\"noopener\">Substitute\u003c/a>.”\u003c/p>\n\u003cp>As it turned out, Polydor’s new president was unique in his enthusiasm for the record. In his eagerness to get it out, he cut a deal: Producer-songwriters Freddie Perren and Dino Fekaris agreed to record “Substitute” if they could put one of their own songs on the B-side of the single. They invited Gaynor in for a meeting to hear what kinds of lyrics felt most comfortable with performing. In the interview with Audible, she described what happened next.\u003c/p>\n\u003cp>“They said, ‘We think you’re the one that we’ve been waiting for to record this song that we wrote a couple of years ago,’ ” Gaynor explained. “When I read the lyrics, I realized the reason they’d been waiting for me to record that song was that God had given that song to them for them to set aside, waiting for him to get everything in order for me to meet up with them. And that song was ‘I Will Survive.'”\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/8f4mytaXttw'\n title='//www.youtube.com/embed/8f4mytaXttw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Drummer James Gadson, who in his career has backed up Marvin Gaye and Bill Withers and been featured on hundreds of hit records, was part of the studio band put together for the session. He tells NPR they spent hours laying down tracks for “Substitute,” and were about ready to wrap things up when Freddie Perren asked them to stay a little longer and do one more song.\u003c/p>\n\u003cp>“He said, ‘Well, man, I know everybody’s tired, but let’s just do this one song. In fact, I’ll do the intro.’ He was a great producer, played keyboards,” Gadson says, describing the arpeggio Perren played that became the song’s unmistakable opening sting.\u003c/p>\n\u003cp>“We just cut it and that was it, went home,” he says. “Three weeks later: \u003cem>bam\u003c/em>.”\u003c/p>\n\u003cp>Gaynor took advance copies of the single to Studio 54, the mecca of US discotheques — she’d often sung there, and knew the DJ. “He played it while we were standing there,” she said \u003ca href=\"https://www.npr.org/sections/world-cafe/2019/07/17/742634817/gloria-gaynor-disco-queen-goes-gospel\" target=\"_blank\" rel=\"noopener\">in an interview\u003c/a> with \u003cem>World Cafe\u003c/em> on NPR member station WXPN. “The audience immediately loved it, which told me this is a hit song. New Yorkers don’t immediately love \u003cem>anything\u003c/em> — they are so jaded.” The DJ liked it too — enough that he agreed to take copies and pass them along to other DJs.\u003c/p>\n\u003cp>Released in October 1978, “I Will Survive” was a near-instant hit, eclipsing the planned comeback song on the other side of the record. Within weeks it was playing everywhere, including Europe, where Gaynor was a longtime favorite. The song also coincided with the very beginning of the AIDS crisis, and found a particular resonance within the LGBT community.\u003c/p>\n\u003cp>Karen Tongson, a professor at the University of Southern California who often lectures on pop culture, says she remembers first hearing the song in the 1990s through its cover versions, then learning the history behind Gaynor’s original.\u003c/p>\n\u003cp>“It was especially significant for me, because I’d just come out,” she recalls. “The song had long associations with the LGBT community as an anthem … but in my newfound activism, in my new awareness around the different struggles the community faced — particularly around the AIDS crisis — I heard the song with new ears.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She wasn’t the only one. Beyond gay communities, “I Will Survive” has become a global anthem for those who have felt politically oppressed, physically challenged or otherwise pushed to society’s margins.\u003c/p>\n\u003cp>That includes survivors of domestic abuse, for whom Gloria Gaynor herself has become a spokesperson. Cindy Southworth heads the National Network to End Domestic Violence, where Gaynor is an advocate; she remembers when the singer appeared at the organization’s global conference in 2012.\u003c/p>\n\u003cp>“She sang her song,” Southworth says, “and singing along with her were 1,500 advocates from across the globe — many of them survivors themselves, singing in beautiful accents.”\u003c/p>\n\u003cp>Today, it’s hard to go through life without hearing some version of “I Will Survive.” Its operatic sweep makes it perfect for divas; Diana Ross, Aretha Franklin and Miss Piggy have all had a go. But it’s also been covered by Johnny Mathis and Cake, performed by marching bands and symphony orchestras.\u003c/p>\n\u003cp>Karen Tongson says it’s the progression of the lyrics from despair to empowerment that make “I Will Survive” a deeply personal song for a lot of people: “That chorus is like coming out of the dark and into the light.” Set to a driving beat, its message is one that anyone who hears it can claim as their own. It is an anthem for people who have survived whatever life has thrown at them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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