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At a time when the life expectancy for trans women of color is \u003ca href=\"https://theglowup.theroot.com/thriveover35-we-can-no-longer-accept-the-brief-life-e-1827050053\" target=\"_blank\" rel=\"noopener\">only 35 years old\u003c/a>, mostly due to hate crimes, it’s nothing short of a miracle that Miss Major is still organizing, fighting and providing crucial mentorship to LGBTQ activists at 78 years old.\u003c/p>\n\u003cp>https://vimeo.com/173784139\u003c/p>\n\u003cp>After two successful years on the festival film circuit,\u003cem> Major!\u003c/em> hit Amazon Prime Video earlier this year. A moving, personal look into Miss Major’s life and activism, one of its standout features is its newly released soundtrack by Oakland singer-songwriter Star Amerasu, a.k.a. \u003ca href=\"https://soundcloud.com/staramerasu\" target=\"_blank\" rel=\"noopener\">Ah Mer Ah Su\u003c/a>, called \u003ca href=\"https://open.spotify.com/album/3GTBI1WN9YtC94LldfOqTl\" target=\"_blank\" rel=\"noopener\">\u003cem>Major! A Self-Care Soundtrack for Revolutionaries\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The songs Ah Mer Ah Su created for \u003cem>Major!\u003c/em> cocoon listeners in airy, looped vocal melodies that nourish one’s fighting spirit rather than beating the drums of the revolution. Her tracks, some composed entirely of wordless hums and croons, contain a knowing calm, as if acknowledging the struggle while gathering the strength to keep pushing. [contextly_sidebar id=”3COpZkCrd7qVDYB1V5zNelNUHR1NCDgi”]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s so important that this movie happened, because Miss Major is still alive and we’re uplifting her narrative while she’s here and can see her impact,” says Ah Mer Ah Su, who is trans herself. “I felt more in charge of my own destiny after seeing this movie.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12803807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12803807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-800x450.jpg\" alt=\"Oakland singer-songwriter Star Amerasu composed the soundtrack for 'Major!'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland singer-songwriter Star Amerasu composed the soundtrack for ‘Major!’ \u003ccite>(Maria Fernanda Molins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan class=\"s1\">Throughout \u003cem>Major!\u003c/em>, music fuses with message in uplifting crescendos. And \u003c/span>though the documentary gets into the harsh realities of survival sex work and incarceration that Miss Major and many of her adopted daughters experienced, it captures so much of the tenderness and joy in their chosen family. “And there was anger / And there was glee / And there was sadness caught in between,” Ah Mer Ah Su sings on the track “7 / 15 / 13.”\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“There’s a trans trauma narrative that has infused documentary film,” says \u003cem>Major!\u003c/em> co-producer and editor StormMiguel Florez. “It was great to break from that to show complexity and joy and full range of human experience.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"s1\">One of these joyful moments comes when Miss Major and Janet Mock (the author, \u003cem>Pose\u003c/em> producer and trans activist) grand marshal at the 2014 San Francisco Pride Parade. The scene represents a full-circle moment: Mock, a gorgeous trans celebrity, joins forces with a selfless activist who paved the way for her success. Before Mock takes the stage, Miss Major implores her to remember that the fight is not over, sending her off with a warm embrace. As Mock addresses the crowd with a renewed sense of purpose, Ah Mer Ah Su’s hums propel her speech forward with a gentle pulse. [contextly_sidebar id=”p1IRpBnHkcqW4nHVVzx8PiHWSfmJzl7Z”]\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“For decades, Miss Major—with little resources, no pay or accolades—has taken care of our sisters behind bars, our sisters working on the streets, our sisters looking for mothers,” Mock says to the Pride crowd. “She is the blueprint for our liberation and has ensured that the path I walk on, that we all walk on, is less rocky because she exists.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ah Mer Ah Su says she’s inspired by the ways Miss Major took care of people in her community on a person-to-person level, buying her sisters meals or helping with rent, even during times when she was struggling herself. She spent over a decade with the \u003ca href=\"http://www.tgijp.org/mission-and-staff.html\" target=\"_blank\" rel=\"noopener\">Transgender, Gender-Variant and Intersex Justice Project\u003c/a> (TGIJP), a San Francisco nonprofit that advocates for trans and gender non-conforming people in prison. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844366\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844366\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-800x1038.jpg\" alt=\"A flyer for a trans support group Miss Major hosted in San Francisco in the '90s.\" width=\"800\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-768x996.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-375x487.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-520x675.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for a trans support group Miss Major hosted in San Francisco in the ’90s.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“So often, we feel powerless. And to take back your power from those who are trying to take it from you is so inspirational,” Ah Mer Ah Su says. “So much of our community is indebted to these folks who started a movement for liberation. It was trans women opening the door for all of the LGBT community to boldly walk forward.”\u003c/span>\u003c/p>\n\u003cp>\u003cem>Major! A Self-Care Soundtrack for Revolutionaries\u003c/em> is music you can light candles on your altar or write in your journal to, or just lay in bed and cry for a while. And in the documentary, that’s the vibe Miss Major conveys, too: not only is she an adopted mother to her community of trans and gender non-conforming people, to many, she is the definition of home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“She relates, and she understands, and she just accepts,” says Lala Yantes, one of Miss Major’s adopted daughters and a former legal coordinator at TGIJP, in the documentary. “It’s what every family should be. It’s the definition of unconditional love.”\u003c/p>\n\n",
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"excerpt": "Ah Mer Ah Su's music fuses with the empowering message of 'Major!,' a documentary about a tireless advocate for the trans community.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before Pride became a mainstream celebration, complete with corporate parade floats and drunk straight people, it commemorated a riot where trans women of color put their bodies on the line to stand up against police brutality. Miss Major Griffin-Gracy, an activist who spent much of her life in the Bay Area, participated in the Stonewall uprising of 1969 in New York, when a confrontation between the Stonewall Inn’s LGBTQ patrons and police birthed the modern-day gay rights movement.\u003c/p>\n\u003cp>Unfortunately, the contributions of trans women like Miss Major are often erased from the mainstream LGBTQ narrative. And issues like trans people’s \u003ca href=\"https://www.nytimes.com/2018/10/26/us/transgender-lgbt-rights-trump.html\" target=\"_blank\" rel=\"noopener\">basic civil rights\u003c/a>—which are newly under attack under the current administration—don’t attract the same broad support as more conservative topics like marriage equality. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Bay Area filmmaker Annalise Ophelian seeks to set the record straight with her documentary, \u003ca href=\"https://www.missmajorfilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Major!\u003c/em>\u003c/a>, which chronicles Miss Major’s half-century of activism as well as her important role as an elder in the trans community, where, too often, trans people are ostracized from their biological families—on top of discrimination in jobs, housing and the criminal justice system. At a time when the life expectancy for trans women of color is \u003ca href=\"https://theglowup.theroot.com/thriveover35-we-can-no-longer-accept-the-brief-life-e-1827050053\" target=\"_blank\" rel=\"noopener\">only 35 years old\u003c/a>, mostly due to hate crimes, it’s nothing short of a miracle that Miss Major is still organizing, fighting and providing crucial mentorship to LGBTQ activists at 78 years old.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After two successful years on the festival film circuit,\u003cem> Major!\u003c/em> hit Amazon Prime Video earlier this year. A moving, personal look into Miss Major’s life and activism, one of its standout features is its newly released soundtrack by Oakland singer-songwriter Star Amerasu, a.k.a. \u003ca href=\"https://soundcloud.com/staramerasu\" target=\"_blank\" rel=\"noopener\">Ah Mer Ah Su\u003c/a>, called \u003ca href=\"https://open.spotify.com/album/3GTBI1WN9YtC94LldfOqTl\" target=\"_blank\" rel=\"noopener\">\u003cem>Major! A Self-Care Soundtrack for Revolutionaries\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The songs Ah Mer Ah Su created for \u003cem>Major!\u003c/em> cocoon listeners in airy, looped vocal melodies that nourish one’s fighting spirit rather than beating the drums of the revolution. Her tracks, some composed entirely of wordless hums and croons, contain a knowing calm, as if acknowledging the struggle while gathering the strength to keep pushing. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s so important that this movie happened, because Miss Major is still alive and we’re uplifting her narrative while she’s here and can see her impact,” says Ah Mer Ah Su, who is trans herself. “I felt more in charge of my own destiny after seeing this movie.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12803807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12803807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-800x450.jpg\" alt=\"Oakland singer-songwriter Star Amerasu composed the soundtrack for 'Major!'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland singer-songwriter Star Amerasu composed the soundtrack for ‘Major!’ \u003ccite>(Maria Fernanda Molins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan class=\"s1\">Throughout \u003cem>Major!\u003c/em>, music fuses with message in uplifting crescendos. And \u003c/span>though the documentary gets into the harsh realities of survival sex work and incarceration that Miss Major and many of her adopted daughters experienced, it captures so much of the tenderness and joy in their chosen family. “And there was anger / And there was glee / And there was sadness caught in between,” Ah Mer Ah Su sings on the track “7 / 15 / 13.”\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“There’s a trans trauma narrative that has infused documentary film,” says \u003cem>Major!\u003c/em> co-producer and editor StormMiguel Florez. “It was great to break from that to show complexity and joy and full range of human experience.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"s1\">One of these joyful moments comes when Miss Major and Janet Mock (the author, \u003cem>Pose\u003c/em> producer and trans activist) grand marshal at the 2014 San Francisco Pride Parade. The scene represents a full-circle moment: Mock, a gorgeous trans celebrity, joins forces with a selfless activist who paved the way for her success. Before Mock takes the stage, Miss Major implores her to remember that the fight is not over, sending her off with a warm embrace. As Mock addresses the crowd with a renewed sense of purpose, Ah Mer Ah Su’s hums propel her speech forward with a gentle pulse. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“For decades, Miss Major—with little resources, no pay or accolades—has taken care of our sisters behind bars, our sisters working on the streets, our sisters looking for mothers,” Mock says to the Pride crowd. “She is the blueprint for our liberation and has ensured that the path I walk on, that we all walk on, is less rocky because she exists.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ah Mer Ah Su says she’s inspired by the ways Miss Major took care of people in her community on a person-to-person level, buying her sisters meals or helping with rent, even during times when she was struggling herself. She spent over a decade with the \u003ca href=\"http://www.tgijp.org/mission-and-staff.html\" target=\"_blank\" rel=\"noopener\">Transgender, Gender-Variant and Intersex Justice Project\u003c/a> (TGIJP), a San Francisco nonprofit that advocates for trans and gender non-conforming people in prison. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844366\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844366\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-800x1038.jpg\" alt=\"A flyer for a trans support group Miss Major hosted in San Francisco in the '90s.\" width=\"800\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-768x996.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-375x487.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-520x675.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for a trans support group Miss Major hosted in San Francisco in the ’90s.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“So often, we feel powerless. And to take back your power from those who are trying to take it from you is so inspirational,” Ah Mer Ah Su says. “So much of our community is indebted to these folks who started a movement for liberation. It was trans women opening the door for all of the LGBT community to boldly walk forward.”\u003c/span>\u003c/p>\n\u003cp>\u003cem>Major! A Self-Care Soundtrack for Revolutionaries\u003c/em> is music you can light candles on your altar or write in your journal to, or just lay in bed and cry for a while. And in the documentary, that’s the vibe Miss Major conveys, too: not only is she an adopted mother to her community of trans and gender non-conforming people, to many, she is the definition of home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“She relates, and she understands, and she just accepts,” says Lala Yantes, one of Miss Major’s adopted daughters and a former legal coordinator at TGIJP, in the documentary. “It’s what every family should be. It’s the definition of unconditional love.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Boy Erased' Director Joel Edgerton on the Childhood Fear of Separation",
"headTitle": "‘Boy Erased’ Director Joel Edgerton on the Childhood Fear of Separation | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">When \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Boy Erased \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">begins, we see Nancy Eamons (Nicole Kidman) driving her son Jared (Lucas Hedges) to a gay conversion facility. On the freeway, he extends his right arm out the window. Nancy glances over at him, frowns, and then asks him to retract it. He sighs and immediately complies.\u003c/span>\u003c/p>\n\u003cp>The director of the film, Joel Edgerton, captures Nancy and Joel’s dynamic in that understated moment. Nancy’s convinced that her son will get hurt if he doesn’t follow her rules. And Jared is as yet too unsure of himself to be assertive. He’s an unformed 19-year-old boy who trusts his parents, even if he has to deny his homosexuality in order to do so. \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Edgerton also wrote and adapted the screenplay from Garrard Conley’s memoir of the same name — \u003c/span>\u003cspan style=\"font-weight: 400\">although, at first glance, the Australian actor’s resume makes him seem an unlikely candidate for the job. His first feature film \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Gift\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (2015) is a creepy, psychological thriller. But in films like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Loving \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(2016)\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Warrior \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(2011) and\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Animal Kingdom\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (2010), \u003c/span>\u003cspan style=\"font-weight: 400\">Edgerton can play macho characters who aren’t afraid to be vulnerable.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13843982\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843982\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-800x515.jpg\" alt=\"\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-1020x656.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-1200x772.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-1180x759.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-520x335.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749.jpg 1243w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joel Edgerton stars as Victor Sykes in ‘Boy Erased.’ (Focus Features)\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent press tour in San Francisco, he explains what drew him to the book: “\u003cspan style=\"font-weight: 400\">When I was young, I was terrified of institutions like boarding school and prison.” \u003c/span>\u003cspan style=\"font-weight: 400\">Edgerton says that once, his dad once made a joke at the dinner table about exchanging Joel and his brother Nash for two kids from faraway Perth, and he burst into tears. “I was so terrified of being separated from my family,” he says.\u003c/span>\u003c/p>\n\u003cp>Garrard’s situation, then, tapped right into his childhood fears. “Imagine being fearful of prison or being abducted,” he says, “and then imagine that your parents were your abductors.” In the movie, as in real life, Jared’s coming out is further complicated by the fact that his father Marshall (Russell Crowe) is a minister in an Arkansas church. It’s Marshall who decides upon the course of sending him away for conversion therapy, while Nancy silently complies. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For audiences who embraced the liberating gay love story in Luca Guadagnino’s film \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13817260/call-me-by-your-name-luca-guadagnino\">\u003ci>\u003cspan style=\"font-weight: 400\">Call Me By Your Name\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, Jared’s obedience and willingness to suppress his sexuality may feel regressive. But Jared isn’t Elio. Edgerton says, “\u003c/span>\u003cspan style=\"font-weight: 400\">He wasn’t that boy. This movie speaks to the majority of us who do grow up without that rebellious streak, without that self-possessed agency to grab a machete and cut our own way through the forest. Most of us like to hold our parents’ hands through a certain section of the first part of life.” The director adds that, otherwise, “It would have been a short film about a kid whose parents say, ‘We don’t accept your sexuality,’ and he goes, ‘F-ck you,’ and moves to New York City or San Francisco or Sydney. But it’s not.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13843983\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843983\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-800x432.jpg\" alt=\"\" width=\"800\" height=\"432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-1200x649.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-520x281.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597.jpg 1480w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Lucas Hedges stars as Jared, and Russell Crowe and Nicole Kidman as Jared’s parents, Marshall and Nancy, in Joel Edgerton’s ‘Boy Erased.’ (Focus Features)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">To prepare for the film, Edgerton interviewed Garrard and other survivors of conversion therapy. For a while, he felt that he wasn’t qualified to make the movie. “And then I was like, ‘Well, wait. I’m just a conduit for Garrard and he’s with me all the way.’ He approved of me to do it, because I think he saw how passionate I was,” he says.\u003c/span>\u003c/p>\n\u003cp>While making the recent spy film \u003ci>\u003cspan style=\"font-weight: 400\">Red Sparrow\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Edgerton found himself returning to the project to push it forward. \u003c/span>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">This book chose me,” he says. “I felt safe being involved as a non-LGBTQ person because I related to so many other aspects of the story, the sense of obligation to family, the fear of being institutionalized.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In his memoir, Garrard describes his mother when she drops him off at the conversion camp. “She was all blond hair and heavy blue mascara, blue eyes and a perennial floral-print top: a spot of Technicolor in this drab place.” The filmmaker made a conscious decision to create that same drab palate on screen and to showcase Kidman’s Nancy as a bird-of-paradise in the midst of it. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Boy Erased\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is as much about Jared’s waking up to himself as it is the story of his mother’s taking responsibility for the damage she and her husband have caused. However, as the memoir and the movie both point out, not everyone who attends conversion therapy is lucky enough to have a mother like Garrard’s.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13843984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-800x514.jpg\" alt=\"\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-1020x656.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-1200x772.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-1180x759.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-960x617.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-520x334.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748.jpg 1244w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theodore Pellerin stars as Xavier and Lucas Hedges stars as Jared in Joel Edgerton’s ‘Boy Erased.’ (Focus Features)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">When he ran into Guadagnino at a film festival in Paris last month, Edgerton told the Italian director, “You realize I made the movie about the phone call at the end of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Call Me By Your Name\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> when Oliver (Armie Hammer) says to Elio, ‘If that was me, I would’ve been sent to some institution.’” He made the movie about Armie’s coming out story, the one that’s set in a religiously oppressive America.\u003c/span>\u003c/p>\n\u003cp>Before \u003ci>\u003cspan style=\"font-weight: 400\">Boy Erased\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> had even been released, Edgerton received a comment on social media that said, “Oh, enough of these negative gay stories.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His response? “I get it. I feel you. It’s beautiful that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Love, Simon \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Call Me By Your Name\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> are in the world because you need positive coming-out stories. For Elio, it was almost like when he came out, his parents said, ‘I know, pass the salt.’ And yet, when I read that comment, I was like, “Yes, but this shit’s still going on. It’s very much still going on.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"http://www.focusfeatures.com/boy-erased\">Boy Erased\u003c/a>‘ opens Friday, Nov. 2, at Landmark Embarcadero Center Cinema in San Francisco. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">When \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Boy Erased \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">begins, we see Nancy Eamons (Nicole Kidman) driving her son Jared (Lucas Hedges) to a gay conversion facility. On the freeway, he extends his right arm out the window. Nancy glances over at him, frowns, and then asks him to retract it. He sighs and immediately complies.\u003c/span>\u003c/p>\n\u003cp>The director of the film, Joel Edgerton, captures Nancy and Joel’s dynamic in that understated moment. Nancy’s convinced that her son will get hurt if he doesn’t follow her rules. And Jared is as yet too unsure of himself to be assertive. He’s an unformed 19-year-old boy who trusts his parents, even if he has to deny his homosexuality in order to do so. \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Edgerton also wrote and adapted the screenplay from Garrard Conley’s memoir of the same name — \u003c/span>\u003cspan style=\"font-weight: 400\">although, at first glance, the Australian actor’s resume makes him seem an unlikely candidate for the job. His first feature film \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Gift\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (2015) is a creepy, psychological thriller. But in films like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Loving \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(2016)\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Warrior \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(2011) and\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Animal Kingdom\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (2010), \u003c/span>\u003cspan style=\"font-weight: 400\">Edgerton can play macho characters who aren’t afraid to be vulnerable.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13843982\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843982\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-800x515.jpg\" alt=\"\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-1020x656.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-1200x772.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-1180x759.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-520x335.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749.jpg 1243w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joel Edgerton stars as Victor Sykes in ‘Boy Erased.’ (Focus Features)\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent press tour in San Francisco, he explains what drew him to the book: “\u003cspan style=\"font-weight: 400\">When I was young, I was terrified of institutions like boarding school and prison.” \u003c/span>\u003cspan style=\"font-weight: 400\">Edgerton says that once, his dad once made a joke at the dinner table about exchanging Joel and his brother Nash for two kids from faraway Perth, and he burst into tears. “I was so terrified of being separated from my family,” he says.\u003c/span>\u003c/p>\n\u003cp>Garrard’s situation, then, tapped right into his childhood fears. “Imagine being fearful of prison or being abducted,” he says, “and then imagine that your parents were your abductors.” In the movie, as in real life, Jared’s coming out is further complicated by the fact that his father Marshall (Russell Crowe) is a minister in an Arkansas church. It’s Marshall who decides upon the course of sending him away for conversion therapy, while Nancy silently complies. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For audiences who embraced the liberating gay love story in Luca Guadagnino’s film \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13817260/call-me-by-your-name-luca-guadagnino\">\u003ci>\u003cspan style=\"font-weight: 400\">Call Me By Your Name\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, Jared’s obedience and willingness to suppress his sexuality may feel regressive. But Jared isn’t Elio. Edgerton says, “\u003c/span>\u003cspan style=\"font-weight: 400\">He wasn’t that boy. This movie speaks to the majority of us who do grow up without that rebellious streak, without that self-possessed agency to grab a machete and cut our own way through the forest. Most of us like to hold our parents’ hands through a certain section of the first part of life.” The director adds that, otherwise, “It would have been a short film about a kid whose parents say, ‘We don’t accept your sexuality,’ and he goes, ‘F-ck you,’ and moves to New York City or San Francisco or Sydney. But it’s not.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13843983\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843983\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-800x432.jpg\" alt=\"\" width=\"800\" height=\"432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-1200x649.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-520x281.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597.jpg 1480w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Lucas Hedges stars as Jared, and Russell Crowe and Nicole Kidman as Jared’s parents, Marshall and Nancy, in Joel Edgerton’s ‘Boy Erased.’ (Focus Features)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">To prepare for the film, Edgerton interviewed Garrard and other survivors of conversion therapy. For a while, he felt that he wasn’t qualified to make the movie. “And then I was like, ‘Well, wait. I’m just a conduit for Garrard and he’s with me all the way.’ He approved of me to do it, because I think he saw how passionate I was,” he says.\u003c/span>\u003c/p>\n\u003cp>While making the recent spy film \u003ci>\u003cspan style=\"font-weight: 400\">Red Sparrow\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Edgerton found himself returning to the project to push it forward. \u003c/span>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">This book chose me,” he says. “I felt safe being involved as a non-LGBTQ person because I related to so many other aspects of the story, the sense of obligation to family, the fear of being institutionalized.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In his memoir, Garrard describes his mother when she drops him off at the conversion camp. “She was all blond hair and heavy blue mascara, blue eyes and a perennial floral-print top: a spot of Technicolor in this drab place.” The filmmaker made a conscious decision to create that same drab palate on screen and to showcase Kidman’s Nancy as a bird-of-paradise in the midst of it. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Boy Erased\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is as much about Jared’s waking up to himself as it is the story of his mother’s taking responsibility for the damage she and her husband have caused. However, as the memoir and the movie both point out, not everyone who attends conversion therapy is lucky enough to have a mother like Garrard’s.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13843984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-800x514.jpg\" alt=\"\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-1020x656.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-1200x772.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-1180x759.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-960x617.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-520x334.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748.jpg 1244w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theodore Pellerin stars as Xavier and Lucas Hedges stars as Jared in Joel Edgerton’s ‘Boy Erased.’ (Focus Features)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">When he ran into Guadagnino at a film festival in Paris last month, Edgerton told the Italian director, “You realize I made the movie about the phone call at the end of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Call Me By Your Name\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> when Oliver (Armie Hammer) says to Elio, ‘If that was me, I would’ve been sent to some institution.’” He made the movie about Armie’s coming out story, the one that’s set in a religiously oppressive America.\u003c/span>\u003c/p>\n\u003cp>Before \u003ci>\u003cspan style=\"font-weight: 400\">Boy Erased\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> had even been released, Edgerton received a comment on social media that said, “Oh, enough of these negative gay stories.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His response? “I get it. I feel you. It’s beautiful that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Love, Simon \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Call Me By Your Name\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> are in the world because you need positive coming-out stories. For Elio, it was almost like when he came out, his parents said, ‘I know, pass the salt.’ And yet, when I read that comment, I was like, “Yes, but this shit’s still going on. It’s very much still going on.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"http://www.focusfeatures.com/boy-erased\">Boy Erased\u003c/a>‘ opens Friday, Nov. 2, at Landmark Embarcadero Center Cinema in San Francisco. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bigger-than-disco-you-make-me-feel-mighty-real-is-a-celebration-of-self",
"title": "Bigger Than Disco, 'You Make Me Feel (Mighty Real)' Is A Celebration Of Self",
"publishDate": 1539034801,
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"headTitle": "Bigger Than Disco, ‘You Make Me Feel (Mighty Real)’ Is A Celebration Of Self | KQED",
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"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\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/651794925/655529024\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>Dick Clark couldn’t get his \u003cem>American Bandstand\u003c/em> crowd to stop cheering. It was early December, 1978, around the peak of disco’s popularity — and Clark’s studio audience had just heard Sylvester and his backup singers, Two Tons O’ Fun, perform their first hit, “\u003ca href=\"https://www.youtube.com/watch?v=Nhcm5yWWdAE\">Dance (Disco Heat)\u003c/a>“.\u003c/p>\n\u003cp>After Clark got the crowd to pipe down and conducted an \u003ca href=\"https://www.youtube.com/watch?v=VKKsI2seeTM\">awkward interview\u003c/a>, the gender-bending singer — wearing makeup, a loose kimono and leather pants — performed his follow-up single. The song, “\u003ca href=\"https://www.youtube.com/watch?v=VyAHULpMXKQ\">You Make Me Feel (Mighty Real)\u003c/a>,” hit the top of Billboard’s dance chart that year. Forty years later, its greater legacy is as an \u003ca href=\"https://www.billboard.com/photos/7408710/gay-anthems-lgbt-pride-top-songs\">LGBTQ anthem\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Dick Clark Interviews Sylvester - American Bandstand 1978\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/VKKsI2seeTM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a song of freedom,” says \u003ca href=\"https://www.usfca.edu/faculty/joshua-gamson\">Joshua Gamson\u003c/a>, Sylvester’s biographer. In his book \u003ca href=\"https://www.amazon.com/dp/B00DXIU6JQ\">\u003cem>The Fabulous Sylvester: The Legend, The Music, The Seventies in San Francisco\u003c/em>\u003c/a>, Gamson makes the case that the artist became a kind of folk hero for many young LGBTQ people, because his life was theirs.\u003c/p>\n\u003cp>[contextly_sidebar id=”DX8CVmChGyCDKVAere6SHhEx4c61Rsz4″]\u003c/p>\n\u003cp>“You’ve come out of the closet. It’s been difficult,” he says. “Many people [at the time] have moved out of their homes of origin, their families of origin, with great pain, and moved to a more liberated place, like San Francisco. And then … this person comes out into public life that sounds like what you were feeling when you made yourself free.\u003c/p>\n\u003cp>“For him to be celebrated for all of his strangeness and all of the ways he inhabited who he wanted to be — who he felt himself to be — felt like \u003cem>you\u003c/em> being celebrated for that.”\u003c/p>\n\u003cp>And it wasn’t just how Sylvester looked and sounded. The song’s lyrics openly celebrated that liberation:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>When we’re out there dancing on the floor, darlin’\u003cbr>\nAnd I feel like I need some more\u003cbr>\nAnd I feel your body close to mine\u003cbr>\nAnd I know, my love, it’s about that time\u003cbr>\nMake me feel mighty real\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“You’ve got the words of a person who is just matter-of-fact about their sexual desires, about the freedom to do with their bodies and their desires whatever they want to do,” Gamson says. “And you can dance to it!”\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/VyAHULpMXKQ\">http://youtu.be/VyAHULpMXKQ\u003c/a>\u003c/p>\n\u003cp>Sylvester James grew up singing in a Pentecostal church in the Watts neighborhood of Los Angeles. His mother was a devout member of the church and couldn’t accept the early signs of her son’s sexuality.\u003c/p>\n\u003cp>“When I was little, I used to dress up, right? And my mother said, ‘You can’t dress up,’ ” Sylvester told Joan Rivers \u003ca href=\"https://www.youtube.com/watch?v=FNS7VM5oTRU\">when he appeared on The Tonight Show in 1986\u003c/a>. ” ‘You gotta wear these pants and these shoes. And you have to, like, drink beer and play football.’ And I said, ‘No I don’t!’ And she said, ‘You’re very strange.’ And I said, ‘That’s OK!’ ”\u003c/p>\n\u003cp>[contextly_sidebar id=”3WTfhvRC1lCwVO0uNQncpTN6ko1JXC2Y”]\u003c/p>\n\u003cp>“The [Pentecostal] church was oppressive,” says singer Jeanie Tracy, who shared Sylvester’s religious background and became his friend and collaborator. “They just didn’t tolerate gayness. They didn’t tolerate a lot of things. They didn’t allow you to wear makeup. You couldn’t wear toeless shoes or sleeveless dresses. It was just real … controlled.”\u003c/p>\n\u003cp>Too much so for Sylvester. At 13, he left the church. Two years later, he left home. He lived with friends and his grandmother, who accepted him as he was.\u003c/p>\n\u003cp>In his early 20s, Sylvester moved to San Francisco to join an avant-garde theatre troupe called \u003ca href=\"https://en.wikipedia.org/wiki/The_Cockettes\">The Cockettes\u003c/a>, whose fans included Truman Capote and Gloria Vanderbilt. But he left the group soon after — to front his own act. Jeanie Tracy remembers being introduced to him by friends in the music industry.\u003c/p>\n\u003cp>“They said, ‘Oh, Jeanie, this is Sylvester,'” she says. “And I said, ‘Sylvester? I thought you were a woman.’ And then I said, ‘Oops! I’m sorry!’ He goes, ‘Oh, no, girl, that’s okay!'”\u003c/p>\n\u003cp>When guitarist and songwriter James Wirrick saw the singer for the first time, Sylvester was backed by a tight three-piece band and flanked by two drag queens — “in full drag, with full neck-beards,” he laughs.\u003c/p>\n\u003cp>[contextly_sidebar id=”WeX9Pk3YLSO5mIo6h3pmTN2LiUZUIu6M”]\u003c/p>\n\u003cp>Wirrick became Sylvester’s bandmate and collaborator a few months later. By then, the drag queens had been replaced by backup singers Izora Rhodes and Martha Wash, aka Two Tons O’ Fun. (They went on to record another anthem — \u003ca href=\"https://www.youtube.com/watch?v=l5aZJBLAu1E\">“It’s Raining Men”\u003c/a> — as The Weather Girls.) Wirrick and Sylvester wrote “You Make Me Feel (Mighty Real)” together. Getting the rest of the band on board was a challenge.\u003c/p>\n\u003cp>“At first the band didn’t wanna play it as a dance tune,” Wirrick says. “They were kinda snotty about it. ‘We don’t really wanna do that,’ y’know? And Sylvester and I kept saying, ‘No, you have to do that because that’s what’s on the radio.’ ”\u003c/p>\n\u003cp>More than on the radio, the song was huge in discos — and its falsetto vocals, four-on-the-floor beat and bouncing synthesizer influenced generations of electronic dance music producers to follow. Eleven years after the original came out, vocalist Jimmy Sommerville of the British band Bronski Beat \u003ca href=\"https://www.youtube.com/watch?v=nZtdcMIR5do\">paid tribute with a cover\u003c/a>. The following decade, Chicago House vocalist \u003ca href=\"https://www.youtube.com/watch?v=psi7c64mdWk\">Byron Stingily’s version\u003c/a> once again took the song to the top of the U.S. dance chart.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-large wp-image-13842259\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1020x1332.jpg\" alt=\"\" width=\"640\" height=\"836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1020x1332.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-800x1045.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-768x1003.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-919x1200.jpg 919w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1920x2507.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1180x1541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-960x1253.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-240x313.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-375x490.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-520x679.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22.jpg 1568w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>The song also went on to become the centerpiece of a 2014 \u003ca href=\"https://www.broadway.com/shows/mighty-real-fabulous-sylvester-musical/\">off-Broadway musical\u003c/a> that tells Sylvester’s life story. It’s appeared in ads, films, and TV shows. So far this year, James Wirrick says he’s gotten eight requests for permission to use the song he co-wrote: a video game, three television commercials, three movies and an episode of \u003cem>The Simpsons\u003c/em>.\u003c/p>\n\u003cp>Sylvester never had a mainstream hit after “You Make Me Feel (Mighty Real)”. A year after it came out, Chicago radio DJ Steve Dahl made “Disco sucks!” a rallying cry with his \u003ca href=\"https://en.wikipedia.org/wiki/Disco_Demolition_Night\">“Disco Demolition” promotion between the games of a White Sox doubleheader\u003c/a>; the ensuing melee forced the Sox to forfeit the second game.\u003c/p>\n\u003cp>Joshua Gamson says the event was a reaction by straight white fans of classic rock against a music that they saw as too black and too queer — and that that backlash is partly why he missed the anthem’s power when it first came out.\u003c/p>\n\u003cp>“In a way, if I had felt that earlier, I’d have come out earlier,” he says. “Embracing who you are, celebrating who you are, being as fabulous as you could possibly be, I think that’s the message that he’s preaching in the song. And I could’ve used a dose of that as a teenager.”\u003c/p>\n\u003cp>But Sylvester remained popular among dance music fans, and he leveraged that popularity to raise AIDS awareness. He played benefit shows and distributed safe-sex information to his audiences. When he appeared on \u003cem>The Tonight Show\u003c/em>, he thanked Joan Rivers and guest Charles Nelson Reilly for their early support of what was becoming a movement. “I was there trying to do whatever we could at the time to get it together. And now it’s like a national thing to do,” Sylvester said. “I want to thank you myself.”\u003c/p>\n\u003cp>[contextly_sidebar id=”T2fVkkiaGtKy3pbsh8wpi99OACVQwyoF”]\u003c/p>\n\u003cp>Less than 10 years after “You Make Me Feel (Mighty Real)” came out, Sylvester’s husband died of complications from AIDS. The singer was never tested for HIV — he told friends there was no point, because he knew he had the virus. Within a few months, his own health was deteriorating. But, Jeanie Tracy says, his senses of style and humor stayed intact, even as he was planning his own funeral. “He looked at me and he says, ‘I wanna be buried in a pearl-colored casket,’ ” she recalls. ” ‘Don’t bury me in a white casket, ’cause I don’t wanna look like I’m lyin’ in a white refrigerator!'”\u003c/p>\n\u003cp>A few months before he died, Sylvester appeared in the 1988 gay pride parade in San Francisco. He was emaciated and weak and rode in a wheelchair. But he didn’t want to hide, Gamson says — he wanted the crowds along Castro Street to see him.\u003c/p>\n\u003cp>“It was part of the same almost philosophy of realness — like, this, this is being real,” Gamson says. “This is mighty real, to be marching in the Gay Freedom parade looking, like, 40 years older than you are. And people, knowing that they’ve seen this icon of their freedom, they see him [as] a symbol of the devastation that AIDS took on the community.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Sylvester made sure to champion that community even after he died. In his will, he left his share of future royalties for “You Make Me Feel (Mighty Real)” to two San Francisco nonprofits: the \u003ca href=\"https://prcsf.org/aids-emergency-fund/\">AIDS Emergency Fund\u003c/a> and the meals program \u003ca href=\"https://www.openhand.org/\">Project Open Hand\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bigger+Than+Disco%2C+%27You+Make+Me+Feel+%28Mighty+Real%29%27+Is+A+Celebration+Of+Self&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Sylvester's 1978 dance hit transcends its moment and even the gay rights and AIDS awareness movements it came to represent. It's an anthem to liberation — of desire, and of the body.",
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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\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/651794925/655529024\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>Dick Clark couldn’t get his \u003cem>American Bandstand\u003c/em> crowd to stop cheering. It was early December, 1978, around the peak of disco’s popularity — and Clark’s studio audience had just heard Sylvester and his backup singers, Two Tons O’ Fun, perform their first hit, “\u003ca href=\"https://www.youtube.com/watch?v=Nhcm5yWWdAE\">Dance (Disco Heat)\u003c/a>“.\u003c/p>\n\u003cp>After Clark got the crowd to pipe down and conducted an \u003ca href=\"https://www.youtube.com/watch?v=VKKsI2seeTM\">awkward interview\u003c/a>, the gender-bending singer — wearing makeup, a loose kimono and leather pants — performed his follow-up single. The song, “\u003ca href=\"https://www.youtube.com/watch?v=VyAHULpMXKQ\">You Make Me Feel (Mighty Real)\u003c/a>,” hit the top of Billboard’s dance chart that year. Forty years later, its greater legacy is as an \u003ca href=\"https://www.billboard.com/photos/7408710/gay-anthems-lgbt-pride-top-songs\">LGBTQ anthem\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Dick Clark Interviews Sylvester - American Bandstand 1978\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/VKKsI2seeTM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a song of freedom,” says \u003ca href=\"https://www.usfca.edu/faculty/joshua-gamson\">Joshua Gamson\u003c/a>, Sylvester’s biographer. In his book \u003ca href=\"https://www.amazon.com/dp/B00DXIU6JQ\">\u003cem>The Fabulous Sylvester: The Legend, The Music, The Seventies in San Francisco\u003c/em>\u003c/a>, Gamson makes the case that the artist became a kind of folk hero for many young LGBTQ people, because his life was theirs.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“You’ve come out of the closet. It’s been difficult,” he says. “Many people [at the time] have moved out of their homes of origin, their families of origin, with great pain, and moved to a more liberated place, like San Francisco. And then … this person comes out into public life that sounds like what you were feeling when you made yourself free.\u003c/p>\n\u003cp>“For him to be celebrated for all of his strangeness and all of the ways he inhabited who he wanted to be — who he felt himself to be — felt like \u003cem>you\u003c/em> being celebrated for that.”\u003c/p>\n\u003cp>And it wasn’t just how Sylvester looked and sounded. The song’s lyrics openly celebrated that liberation:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>When we’re out there dancing on the floor, darlin’\u003cbr>\nAnd I feel like I need some more\u003cbr>\nAnd I feel your body close to mine\u003cbr>\nAnd I know, my love, it’s about that time\u003cbr>\nMake me feel mighty real\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“You’ve got the words of a person who is just matter-of-fact about their sexual desires, about the freedom to do with their bodies and their desires whatever they want to do,” Gamson says. “And you can dance to it!”\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/VyAHULpMXKQ\">http://youtu.be/VyAHULpMXKQ\u003c/a>\u003c/p>\n\u003cp>Sylvester James grew up singing in a Pentecostal church in the Watts neighborhood of Los Angeles. His mother was a devout member of the church and couldn’t accept the early signs of her son’s sexuality.\u003c/p>\n\u003cp>“When I was little, I used to dress up, right? And my mother said, ‘You can’t dress up,’ ” Sylvester told Joan Rivers \u003ca href=\"https://www.youtube.com/watch?v=FNS7VM5oTRU\">when he appeared on The Tonight Show in 1986\u003c/a>. ” ‘You gotta wear these pants and these shoes. And you have to, like, drink beer and play football.’ And I said, ‘No I don’t!’ And she said, ‘You’re very strange.’ And I said, ‘That’s OK!’ ”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“The [Pentecostal] church was oppressive,” says singer Jeanie Tracy, who shared Sylvester’s religious background and became his friend and collaborator. “They just didn’t tolerate gayness. They didn’t tolerate a lot of things. They didn’t allow you to wear makeup. You couldn’t wear toeless shoes or sleeveless dresses. It was just real … controlled.”\u003c/p>\n\u003cp>Too much so for Sylvester. At 13, he left the church. Two years later, he left home. He lived with friends and his grandmother, who accepted him as he was.\u003c/p>\n\u003cp>In his early 20s, Sylvester moved to San Francisco to join an avant-garde theatre troupe called \u003ca href=\"https://en.wikipedia.org/wiki/The_Cockettes\">The Cockettes\u003c/a>, whose fans included Truman Capote and Gloria Vanderbilt. But he left the group soon after — to front his own act. Jeanie Tracy remembers being introduced to him by friends in the music industry.\u003c/p>\n\u003cp>“They said, ‘Oh, Jeanie, this is Sylvester,'” she says. “And I said, ‘Sylvester? I thought you were a woman.’ And then I said, ‘Oops! I’m sorry!’ He goes, ‘Oh, no, girl, that’s okay!'”\u003c/p>\n\u003cp>When guitarist and songwriter James Wirrick saw the singer for the first time, Sylvester was backed by a tight three-piece band and flanked by two drag queens — “in full drag, with full neck-beards,” he laughs.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Wirrick became Sylvester’s bandmate and collaborator a few months later. By then, the drag queens had been replaced by backup singers Izora Rhodes and Martha Wash, aka Two Tons O’ Fun. (They went on to record another anthem — \u003ca href=\"https://www.youtube.com/watch?v=l5aZJBLAu1E\">“It’s Raining Men”\u003c/a> — as The Weather Girls.) Wirrick and Sylvester wrote “You Make Me Feel (Mighty Real)” together. Getting the rest of the band on board was a challenge.\u003c/p>\n\u003cp>“At first the band didn’t wanna play it as a dance tune,” Wirrick says. “They were kinda snotty about it. ‘We don’t really wanna do that,’ y’know? And Sylvester and I kept saying, ‘No, you have to do that because that’s what’s on the radio.’ ”\u003c/p>\n\u003cp>More than on the radio, the song was huge in discos — and its falsetto vocals, four-on-the-floor beat and bouncing synthesizer influenced generations of electronic dance music producers to follow. Eleven years after the original came out, vocalist Jimmy Sommerville of the British band Bronski Beat \u003ca href=\"https://www.youtube.com/watch?v=nZtdcMIR5do\">paid tribute with a cover\u003c/a>. The following decade, Chicago House vocalist \u003ca href=\"https://www.youtube.com/watch?v=psi7c64mdWk\">Byron Stingily’s version\u003c/a> once again took the song to the top of the U.S. dance chart.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-large wp-image-13842259\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1020x1332.jpg\" alt=\"\" width=\"640\" height=\"836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1020x1332.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-800x1045.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-768x1003.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-919x1200.jpg 919w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1920x2507.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1180x1541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-960x1253.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-240x313.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-375x490.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-520x679.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22.jpg 1568w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>The song also went on to become the centerpiece of a 2014 \u003ca href=\"https://www.broadway.com/shows/mighty-real-fabulous-sylvester-musical/\">off-Broadway musical\u003c/a> that tells Sylvester’s life story. It’s appeared in ads, films, and TV shows. So far this year, James Wirrick says he’s gotten eight requests for permission to use the song he co-wrote: a video game, three television commercials, three movies and an episode of \u003cem>The Simpsons\u003c/em>.\u003c/p>\n\u003cp>Sylvester never had a mainstream hit after “You Make Me Feel (Mighty Real)”. A year after it came out, Chicago radio DJ Steve Dahl made “Disco sucks!” a rallying cry with his \u003ca href=\"https://en.wikipedia.org/wiki/Disco_Demolition_Night\">“Disco Demolition” promotion between the games of a White Sox doubleheader\u003c/a>; the ensuing melee forced the Sox to forfeit the second game.\u003c/p>\n\u003cp>Joshua Gamson says the event was a reaction by straight white fans of classic rock against a music that they saw as too black and too queer — and that that backlash is partly why he missed the anthem’s power when it first came out.\u003c/p>\n\u003cp>“In a way, if I had felt that earlier, I’d have come out earlier,” he says. “Embracing who you are, celebrating who you are, being as fabulous as you could possibly be, I think that’s the message that he’s preaching in the song. And I could’ve used a dose of that as a teenager.”\u003c/p>\n\u003cp>But Sylvester remained popular among dance music fans, and he leveraged that popularity to raise AIDS awareness. He played benefit shows and distributed safe-sex information to his audiences. When he appeared on \u003cem>The Tonight Show\u003c/em>, he thanked Joan Rivers and guest Charles Nelson Reilly for their early support of what was becoming a movement. “I was there trying to do whatever we could at the time to get it together. And now it’s like a national thing to do,” Sylvester said. “I want to thank you myself.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Less than 10 years after “You Make Me Feel (Mighty Real)” came out, Sylvester’s husband died of complications from AIDS. The singer was never tested for HIV — he told friends there was no point, because he knew he had the virus. Within a few months, his own health was deteriorating. But, Jeanie Tracy says, his senses of style and humor stayed intact, even as he was planning his own funeral. “He looked at me and he says, ‘I wanna be buried in a pearl-colored casket,’ ” she recalls. ” ‘Don’t bury me in a white casket, ’cause I don’t wanna look like I’m lyin’ in a white refrigerator!'”\u003c/p>\n\u003cp>A few months before he died, Sylvester appeared in the 1988 gay pride parade in San Francisco. He was emaciated and weak and rode in a wheelchair. But he didn’t want to hide, Gamson says — he wanted the crowds along Castro Street to see him.\u003c/p>\n\u003cp>“It was part of the same almost philosophy of realness — like, this, this is being real,” Gamson says. “This is mighty real, to be marching in the Gay Freedom parade looking, like, 40 years older than you are. And people, knowing that they’ve seen this icon of their freedom, they see him [as] a symbol of the devastation that AIDS took on the community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sylvester made sure to champion that community even after he died. In his will, he left his share of future royalties for “You Make Me Feel (Mighty Real)” to two San Francisco nonprofits: the \u003ca href=\"https://prcsf.org/aids-emergency-fund/\">AIDS Emergency Fund\u003c/a> and the meals program \u003ca href=\"https://www.openhand.org/\">Project Open Hand\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bigger+Than+Disco%2C+%27You+Make+Me+Feel+%28Mighty+Real%29%27+Is+A+Celebration+Of+Self&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "redefining-pride-eli-thorne-paints-at-the-edges-of-comfort-with-rich-symbolism",
"title": "Redefining Pride: Eli Thorne Paints at the Edges of Discomfort",
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"headTitle": "Redefining Pride: Eli Thorne Paints at the Edges of Discomfort | KQED",
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"content": "\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"https://www.kqed.org/arts/tag/redefining-pride\" target=\"_blank\" rel=\"noopener\">Redefining Pride: The East Bay’s Queer Artists\u003c/a>\u003ci>, a series highlighting the work of queer-identified artists in Oakland and Berkeley. Through printmaking, photography, painting and interdisciplinary work, these visual artists celebrate people, histories and causes often sidelined within mainstream presentations of the queer community.\u003c/i>\u003c/p>\n\u003cp>Discomfort, as much as we try to avoid it, can be a site for discovery and growth. Analyzing the \u003cem>what\u003c/em> and \u003cem>why\u003c/em> behind our reactions is instructive of what we value and fear; in the process, we can unearth useful information about ourselves and our relationship to the world around us.\u003c/p>\n\u003cp>Oakland-based artist \u003ca href=\"http://elimthorne.com/\" target=\"_blank\" rel=\"noopener\">Eli Thorne\u003c/a> knows there is much to be learned from exploring discomfort. To make his paintings, sculptures and drawings, he frequently plays with the edge of ease and anxiety, letting intuition act as his guide. The resulting works are intensely personal, yet still evoke universally resonant emotional states and a broader social critique.\u003c/p>\n\u003cfigure id=\"attachment_13841568\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841568\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200.jpg\" alt=\"'Monster on a Country Road,' 2018 in Thorne's Oakland studio.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Monster on a Country Road,’ 2018 in Thorne’s Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Monster of Zayante Creek\u003c/em>, Thorne’s recent series of paintings exhibited at Berkeley’s \u003ca href=\"https://www.totallyradgallery.com/\" target=\"_blank\" rel=\"noopener\">Totally Rad Gallery\u003c/a>, finds the artist contemplating his childhood from his current perspective—now that of an adult trans man. In these paintings, Thorne depicts dream-like scenes filled with animals, faces and natural environments informed by growing up in the Santa Cruz Mountains, in houses near the 10-mile-long Zayante Creek. Rather than recreate literal snapshots of the region, Thorne portrays emotional states—such as fear, hope, courage, sorrow—painted in landscape-style sites filled with symbolism.\u003c/p>\n\u003cp>Childhood, of course, is where binary gender norms are hammered into us, and where deviating from the status quo can be treated as suspect or shameful. For people who have transitioned genders as adults, looking back at their youth can bring up an array of complicated memories. In Thorne’s exhibition description, he wonders about the concept of a “lost boyhood” and a “nostalgia for a time in his life he never had” while being socialized as a girl. He treats these ideas with curiosity, rather than seeking than a definitive set of conclusions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thorne’s gestural lines are reminiscent of children’s art in their vigorous and smeary renderings, untethered from the constraints of scale, perspective and depth of field. The style of painting is intentional, Thorne notes. “It’s mostly just how my body wants to paint, which is very physical and fast,” he says. “But it is playful and childlike [while] dealing with darker themes.”\u003c/p>\n\u003cfigure id=\"attachment_13841569\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841569\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200.jpg\" alt=\"Sketches in Thorne's Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sketches in Thorne’s Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To that end, I ask to what “monster” the exhibition title refers. Thorne says that the primary motivation for using the phrase was to connote “how trans bodies can be seen as illegitimate and like monsters,” or as “half-human.” However, Thorne explains, after this starting point, multiple manifestations of fear-inducing creatures and constructs began to appear in the series.\u003c/p>\n\u003cp>Growing up (and continuing to live) within the gender binary is one monstrous experience he cites, as well as the childhood memories of imagination in outdoors play, such as “this fantastical monster that my sisters and I would run away from.” Alternately, another horrendous construct is “an internal shadow or demon, or the monster being really dark stuff,” he says. “Like in one of the paintings with tombstones and bones, the monster there being the impulse to commit suicide because you’re not seen the way you should be, or society or family isn’t accepting you,” he trails off. In the \u003cem>Monster of Zayante Creek\u003c/em>, he says, “the monster is—there are many. I don’t have \u003cem>one\u003c/em>.”\u003c/p>\n\u003cp>Although some of these monsters might be familiar to other trans-identified people, Thorne is quick to acknowledge his specific experiences are not representative of anyone’s other than his own. “I am only making these paintings coming from my trans experience,” he says. “I never want it to be thought that I’m trying to represent a population of people, because folks have pasts that they loved, and they may have identified as a different gender and still had a beautiful, lovely time. I definitely had that. Now that they’re a different-gendered body, and that doesn’t mean they can’t love their old self.”\u003c/p>\n\u003cfigure id=\"attachment_13841570\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841570\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200.jpg\" alt=\"Eli Thorne in his Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eli Thorne in his Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thorne further resists the mainstream preconception that there’s one singular “trans experience” of gender. There’s the common popular narrative that “you’re born in the wrong body, you hate your life until you’ve had surgery and taken hormones,” he comments. “I mean, that’s ridiculous to think that’s the one way, the only way.”\u003c/p>\n\u003cp>In his consideration of his own narrative, both real and imagined, Thorne’s paintings feature a host of symbolic characters and icons, including some menacing actors. It’s not always clear which figures represent an aggressor or protector, or if some of the figures may contain elements of both. One recurring symbol, who often hovers like an omnipotent mythological creature, is a “queer ancestor/oracle,” represented through a long-haired, sometimes bearded face. The oracle’s facial expression is indeterminate, not exactly smiling but not necessarily frowning; this character’s intense, wide-eyed gaze is hard to meet.\u003c/p>\n\u003cp>Other key icons include animals full of personal significance. The snake, Throne says, represents rebirth and personal growth through shedding skin—a less frightening but nevertheless powerful process. “They’re always shedding a layer, and that really rings true to me, just in my process as a trans person,” he says. “The idea of shedding layers daily, whether it be with every shot of testosterone, or a conversation I have to have with someone about being trans.”\u003c/p>\n\u003cfigure id=\"attachment_13841567\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841567\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200.jpg\" alt=\"'Dark Heart Forest,' 2018 in Thorne's Oakland studio.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Dark Heart Forest,’ 2018 in Thorne’s Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tigers, similarly, are painted mid-roar with fierce eyes, and to Thorne, they stand for courage, self-determination, and strength. Perhaps the tigers represent a longing to stand up against the status quo and against the multitude of fears that come and go, or came and went in childhood. Even without a legend to translate all the personal symbols in his work, Thorne’s paintings are richly, if uncomfortably, emotional works.\u003c/p>\n\u003cp>In addition to the works specific to childhood, some of Thorne’s other landscape paintings included scrawled phrases on the canvas, such as, “Swipe right, I won’t bite,” “They won’t date me because I’m trans,” and “At 24 Hr Fitness, no door on the shower” in messy, all-caps print. But even on the paintings that don’t show a message on the front, it’s possible he has inscribed it elsewhere.\u003c/p>\n\u003cp>“I do love to add little messages,” Thorne says. “Written messages, either on the sides [of a canvas] or I’ll write something on the back of the painting. I started to do that because I wanted to limit the amount of text I was using, because I tend to want to go all out! I’m very impulsive, and the way to mitigate that is to write a little something on the back. But it’s really embarrassing to [later] read what I’ve written—it’s like my diary or something.”\u003c/p>\n\u003cfigure id=\"attachment_13841572\" class=\"wp-caption aligncenter\" style=\"max-width: 1774px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841572\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Trancestor.jpg\" alt=\"Eli Thorne, 'Trans Ancestor,' 2018.\" width=\"1774\" height=\"1815\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor.jpg 1774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-800x818.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-768x786.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-1020x1044.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-1173x1200.jpg 1173w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-1180x1207.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-960x982.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-240x246.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-375x384.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-520x532.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-64x64.jpg 64w\" sizes=\"auto, (max-width: 1774px) 100vw, 1774px\">\u003cfigcaption class=\"wp-caption-text\">Eli Thorne, ‘Trans Ancestor,’ 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This not-so-secret revealing of personal messages fits within Thorne’s continued practice to explore and expand his comfort levels through art. “I’m trying to go to my boundaries as to what feels comfortable, and then pull back a little bit and soften,” he says.\u003c/p>\n\u003cp>He’s found good company in the Bay Area, including access to resources and community who have helped him along the way. “It’s the queer community that has kept me here,” he says. “There’s a lot of queer artists, too, and that’s really exciting to me—seeing what they’re making and how they’re using their experiences… making new and exciting stuff that isn’t super derivative to identity.”\u003c/p>\n\u003cp>This December during a residency at \u003ca href=\"http://www.thegrowlery.org/\" target=\"_blank\" rel=\"noopener\">the Growlery\u003c/a>, Thorne will experiment further by incorporating his community into the art-making process. He intends to work with other trans male-identified friends’ recollections from childhood to produce symbols and imagery for paintings. “I’m going to collaborate with them about whatever their boyhood, girlhood, or childhood was like, and make paintings based on that—as a gift, to honor them and their past selves, as a way to breathe it out and let it go.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The Oakland-based artist's playful style portrays intense emotional states of fear, hope, sorrow and courage through rich symbolism.",
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"title": "Redefining Pride: Eli Thorne Paints at the Edges of Discomfort | KQED",
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"headline": "Redefining Pride: Eli Thorne Paints at the Edges of Discomfort",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"https://www.kqed.org/arts/tag/redefining-pride\" target=\"_blank\" rel=\"noopener\">Redefining Pride: The East Bay’s Queer Artists\u003c/a>\u003ci>, a series highlighting the work of queer-identified artists in Oakland and Berkeley. Through printmaking, photography, painting and interdisciplinary work, these visual artists celebrate people, histories and causes often sidelined within mainstream presentations of the queer community.\u003c/i>\u003c/p>\n\u003cp>Discomfort, as much as we try to avoid it, can be a site for discovery and growth. Analyzing the \u003cem>what\u003c/em> and \u003cem>why\u003c/em> behind our reactions is instructive of what we value and fear; in the process, we can unearth useful information about ourselves and our relationship to the world around us.\u003c/p>\n\u003cp>Oakland-based artist \u003ca href=\"http://elimthorne.com/\" target=\"_blank\" rel=\"noopener\">Eli Thorne\u003c/a> knows there is much to be learned from exploring discomfort. To make his paintings, sculptures and drawings, he frequently plays with the edge of ease and anxiety, letting intuition act as his guide. The resulting works are intensely personal, yet still evoke universally resonant emotional states and a broader social critique.\u003c/p>\n\u003cfigure id=\"attachment_13841568\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841568\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200.jpg\" alt=\"'Monster on a Country Road,' 2018 in Thorne's Oakland studio.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_10_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Monster on a Country Road,’ 2018 in Thorne’s Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Monster of Zayante Creek\u003c/em>, Thorne’s recent series of paintings exhibited at Berkeley’s \u003ca href=\"https://www.totallyradgallery.com/\" target=\"_blank\" rel=\"noopener\">Totally Rad Gallery\u003c/a>, finds the artist contemplating his childhood from his current perspective—now that of an adult trans man. In these paintings, Thorne depicts dream-like scenes filled with animals, faces and natural environments informed by growing up in the Santa Cruz Mountains, in houses near the 10-mile-long Zayante Creek. Rather than recreate literal snapshots of the region, Thorne portrays emotional states—such as fear, hope, courage, sorrow—painted in landscape-style sites filled with symbolism.\u003c/p>\n\u003cp>Childhood, of course, is where binary gender norms are hammered into us, and where deviating from the status quo can be treated as suspect or shameful. For people who have transitioned genders as adults, looking back at their youth can bring up an array of complicated memories. In Thorne’s exhibition description, he wonders about the concept of a “lost boyhood” and a “nostalgia for a time in his life he never had” while being socialized as a girl. He treats these ideas with curiosity, rather than seeking than a definitive set of conclusions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thorne’s gestural lines are reminiscent of children’s art in their vigorous and smeary renderings, untethered from the constraints of scale, perspective and depth of field. The style of painting is intentional, Thorne notes. “It’s mostly just how my body wants to paint, which is very physical and fast,” he says. “But it is playful and childlike [while] dealing with darker themes.”\u003c/p>\n\u003cfigure id=\"attachment_13841569\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841569\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200.jpg\" alt=\"Sketches in Thorne's Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_3_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sketches in Thorne’s Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To that end, I ask to what “monster” the exhibition title refers. Thorne says that the primary motivation for using the phrase was to connote “how trans bodies can be seen as illegitimate and like monsters,” or as “half-human.” However, Thorne explains, after this starting point, multiple manifestations of fear-inducing creatures and constructs began to appear in the series.\u003c/p>\n\u003cp>Growing up (and continuing to live) within the gender binary is one monstrous experience he cites, as well as the childhood memories of imagination in outdoors play, such as “this fantastical monster that my sisters and I would run away from.” Alternately, another horrendous construct is “an internal shadow or demon, or the monster being really dark stuff,” he says. “Like in one of the paintings with tombstones and bones, the monster there being the impulse to commit suicide because you’re not seen the way you should be, or society or family isn’t accepting you,” he trails off. In the \u003cem>Monster of Zayante Creek\u003c/em>, he says, “the monster is—there are many. I don’t have \u003cem>one\u003c/em>.”\u003c/p>\n\u003cp>Although some of these monsters might be familiar to other trans-identified people, Thorne is quick to acknowledge his specific experiences are not representative of anyone’s other than his own. “I am only making these paintings coming from my trans experience,” he says. “I never want it to be thought that I’m trying to represent a population of people, because folks have pasts that they loved, and they may have identified as a different gender and still had a beautiful, lovely time. I definitely had that. Now that they’re a different-gendered body, and that doesn’t mean they can’t love their old self.”\u003c/p>\n\u003cfigure id=\"attachment_13841570\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841570\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200.jpg\" alt=\"Eli Thorne in his Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_16_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eli Thorne in his Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thorne further resists the mainstream preconception that there’s one singular “trans experience” of gender. There’s the common popular narrative that “you’re born in the wrong body, you hate your life until you’ve had surgery and taken hormones,” he comments. “I mean, that’s ridiculous to think that’s the one way, the only way.”\u003c/p>\n\u003cp>In his consideration of his own narrative, both real and imagined, Thorne’s paintings feature a host of symbolic characters and icons, including some menacing actors. It’s not always clear which figures represent an aggressor or protector, or if some of the figures may contain elements of both. One recurring symbol, who often hovers like an omnipotent mythological creature, is a “queer ancestor/oracle,” represented through a long-haired, sometimes bearded face. The oracle’s facial expression is indeterminate, not exactly smiling but not necessarily frowning; this character’s intense, wide-eyed gaze is hard to meet.\u003c/p>\n\u003cp>Other key icons include animals full of personal significance. The snake, Throne says, represents rebirth and personal growth through shedding skin—a less frightening but nevertheless powerful process. “They’re always shedding a layer, and that really rings true to me, just in my process as a trans person,” he says. “The idea of shedding layers daily, whether it be with every shot of testosterone, or a conversation I have to have with someone about being trans.”\u003c/p>\n\u003cfigure id=\"attachment_13841567\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841567\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200.jpg\" alt=\"'Dark Heart Forest,' 2018 in Thorne's Oakland studio.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Eli_Thorne_Graham_Holoch_9_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Dark Heart Forest,’ 2018 in Thorne’s Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tigers, similarly, are painted mid-roar with fierce eyes, and to Thorne, they stand for courage, self-determination, and strength. Perhaps the tigers represent a longing to stand up against the status quo and against the multitude of fears that come and go, or came and went in childhood. Even without a legend to translate all the personal symbols in his work, Thorne’s paintings are richly, if uncomfortably, emotional works.\u003c/p>\n\u003cp>In addition to the works specific to childhood, some of Thorne’s other landscape paintings included scrawled phrases on the canvas, such as, “Swipe right, I won’t bite,” “They won’t date me because I’m trans,” and “At 24 Hr Fitness, no door on the shower” in messy, all-caps print. But even on the paintings that don’t show a message on the front, it’s possible he has inscribed it elsewhere.\u003c/p>\n\u003cp>“I do love to add little messages,” Thorne says. “Written messages, either on the sides [of a canvas] or I’ll write something on the back of the painting. I started to do that because I wanted to limit the amount of text I was using, because I tend to want to go all out! I’m very impulsive, and the way to mitigate that is to write a little something on the back. But it’s really embarrassing to [later] read what I’ve written—it’s like my diary or something.”\u003c/p>\n\u003cfigure id=\"attachment_13841572\" class=\"wp-caption aligncenter\" style=\"max-width: 1774px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841572\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Trancestor.jpg\" alt=\"Eli Thorne, 'Trans Ancestor,' 2018.\" width=\"1774\" height=\"1815\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor.jpg 1774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-800x818.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-768x786.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-1020x1044.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-1173x1200.jpg 1173w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-1180x1207.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-960x982.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-240x246.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-375x384.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-520x532.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Trancestor-64x64.jpg 64w\" sizes=\"auto, (max-width: 1774px) 100vw, 1774px\">\u003cfigcaption class=\"wp-caption-text\">Eli Thorne, ‘Trans Ancestor,’ 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This not-so-secret revealing of personal messages fits within Thorne’s continued practice to explore and expand his comfort levels through art. “I’m trying to go to my boundaries as to what feels comfortable, and then pull back a little bit and soften,” he says.\u003c/p>\n\u003cp>He’s found good company in the Bay Area, including access to resources and community who have helped him along the way. “It’s the queer community that has kept me here,” he says. “There’s a lot of queer artists, too, and that’s really exciting to me—seeing what they’re making and how they’re using their experiences… making new and exciting stuff that isn’t super derivative to identity.”\u003c/p>\n\u003cp>This December during a residency at \u003ca href=\"http://www.thegrowlery.org/\" target=\"_blank\" rel=\"noopener\">the Growlery\u003c/a>, Thorne will experiment further by incorporating his community into the art-making process. He intends to work with other trans male-identified friends’ recollections from childhood to produce symbols and imagery for paintings. “I’m going to collaborate with them about whatever their boyhood, girlhood, or childhood was like, and make paintings based on that—as a gift, to honor them and their past selves, as a way to breathe it out and let it go.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "redefining-pride-torreya-cummings",
"title": "Redefining Pride: Roaming Through Torreya Cummings’ Off-Camera Histories",
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"content": "\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"https://www.kqed.org/arts/tag/redefining-pride\" target=\"_blank\" rel=\"noopener\">Redefining Pride: The East Bay’s Queer Artists\u003c/a>\u003ci>, a series highlighting the work of queer-identified artists in Oakland and Berkeley. Through printmaking, photography, painting and interdisciplinary work, these visual artists celebrate people, histories and causes often sidelined within mainstream presentations of the queer community.\u003c/i>\u003c/p>\n\u003cp>For many, the phrase “landscape art” evokes paintings of rolling hills and photographs of desert horizons. But these are two-dimensional renderings of three-dimensional spaces, spaces replete with sounds, scents and textures. For interdisciplinary artist \u003ca href=\"https://www.torreya.info/\" target=\"_blank\" rel=\"noopener\">Torreya Cummings\u003c/a>, such flattening is counterintuitive; landscapes are multisensory terrains meant to be explored.\u003c/p>\n\u003cp>“I spent a lot of time outside as a kid,” Cummings says of her rural upbringing in the Central Valley. “Landscape has never seemed like a static thing. It’s an environment that you’re in, and it’s complex. You’re not just looking at it, you’re experiencing and interacting with it.”\u003c/p>\n\u003cfigure id=\"attachment_13841060\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841060\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200.jpg\" alt=\"Erasing the hard lines separating "urban" and "rural" in Cummings' Oakland studio.\" width=\"1200\" height=\"864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-1180x850.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-960x691.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-520x374.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Erasing the hard lines separating “urban” and “rural” in Cummings’ Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This attitude helps explain the artist’s multidimensional work, which tends to invite viewers to enter a temporary site, whether a built environment or a site-specific performance. In a sense, she creates experiences for people to roam through like a real landscape, though on a much smaller scale than a forest or field.\u003c/p>\n\u003cp>A recent multimedia installation commissioned by and on view at \u003ca href=\"http://museumca.org/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> for just under two years (it closed at the end of April 2018) encapsulated that approach. In \u003cem>Notes from ‘Camp’: AKA Transdimensional Ghost Town Discotheque\u003c/em>, the three-dimensional environment married a desert-town-inspired shanty with a (frankly) fabulous iridescent interior. Videos of shimmering crystals, streams and fish played to the sounds of 1970s disco.\u003c/p>\n\u003cfigure id=\"attachment_13840776\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13840776\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/162-1020x1360.jpg\" alt=\"Detail of the interior of Torreya Cumming's 'Notes From "Camp": AKA Transdimensional Ghost Town Discotheque', 2016-18 at the Oakland Museum of California.\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162.jpg 1500w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of the interior of Torreya Cumming’s ‘Notes From “Camp”: AKA Transdimensional Ghost Town Discotheque’, 2016-18 at the Oakland Museum of California. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work provided a way for Cummings to play out her curiosity about the supposed opposites of “rural” and “urban” spaces, \u003ca href=\"https://www.torreya.info/Notes-From-Camp\" target=\"_blank\" rel=\"noopener\">partially inspired\u003c/a> by \u003ca href=\"https://en.wikipedia.org/wiki/Notes_on_%22Camp%22\" target=\"_blank\" rel=\"noopener\">a foundational 1964 text\u003c/a> written by theorist Susan Sontag that discussed the concepts behind “camp,” an attitude expressing a penchant for kitchy, over-the-top aesthetics. Sontag poses “natural” in strict opposition to camp’s connection to the “urban” and to “artifice”—two notions firmly associated with modern queerness, as is camp itself.\u003c/p>\n\u003cp>Cummings’ sparkling hut is a spirited, if ambivalent, rejoinder to the essay; the installation not only allows contradictions to coexist, it seemingly celebrates them all. The installation also made tangible the perspective of a queer person who has traversed both rural and urban realms and felt, in both, equally valid senses of belonging and detachment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13841061\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200.jpg\" alt=\"Cummings in her Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cummings in her Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At first glance, finding queer belonging in rural areas appears improbable—like Sontag’s stark contrast may be altogether too accurate in real life. It’s true that urban centers often offer safe(r)-havens for the LGBTQ community (though this safety remains relative to race, class, ability and other forms of privilege). At the very least they enable social connections that are harder to come by in rural areas. And San Francisco, Oakland and the broader Bay Area boast a well-established queer history, where traditions of socializing through nightlife and bar or club culture run deep.\u003c/p>\n\u003cfigure id=\"attachment_13840779\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840779\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality.jpg\" alt=\"Torreya Cummings, 'Hard Rocks, The West is known for nothing if not for its hospitality,' 2014.\" width=\"720\" height=\"1079\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-520x779.jpg 520w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Torreya Cummings, ‘Hard Rocks, The West is known for nothing if not for its hospitality,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this area, where avant-garde drag is the norm and there is often greater understanding of gender diversity, Cummings says, “It feels like… whatever I am, I’m not the only one. And not just now, but historically: there is a place carved out for a sort of miscellaneous queer existence, and that is part of the reason this place feels like home for me.”\u003c/p>\n\u003cp>Nonetheless, Cummings has experienced her own internal push-and-pull of rural familiarity and urban connection. Having grown up in the small community of Sloughhouse before moving to Davis, San Francisco and, later, Oakland, she says that for a while, she felt torn between regions. “When I was in the country, I was like, ‘Get me out of here!’ And then when I was in the city, I was like, ‘Actually, I miss that other place,’” she says.\u003c/p>\n\u003cp>But, as the many layers of \u003ci>Notes from ‘Camp’\u003c/i> demonstrate, the artist is interested in letting “at-odds” elements exist in tandem. “The power of artmaking is that you can have contradiction,” Cummings says. “You can have ambivalence and you can have multiple meanings existing in one place.”\u003c/p>\n\u003cp>Cummings constantly considers the power structures producing specific historical narratives. Historical representations, whether in a museum, a textbook or even a public park, are human-made, and thus reflective of political agendas and cultural biases. These narratives are usually limited in scope—and \u003cem>limiting\u003c/em> for us as students, viewers, readers and, more broadly, as citizens.\u003c/p>\n\u003cfigure id=\"attachment_13841057\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841057\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200.jpg\" alt=\"Cummings in her Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cummings in her Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although queer culture is certainly a prime example of a marginalized history—and a personal interest for the artist—it’s only one example of the many narratives often omitted from mainstream depictions of the past.\u003c/p>\n\u003cp>“If you have the opportunity to question one aspect of a received narrative, then there’s also an opportunity to question other aspects of it,” she observes. “So, I might be looking for signs of queer pasts, but that’s not the only thing on the periphery. In trying to explore the world that’s off-camera, there are going to be other things that are relevant to that story.”\u003c/p>\n\u003cfigure id=\"attachment_13841059\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841059\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200.jpg\" alt=\"A diorama sculpture in Cummings' Oakland studio.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A diorama sculpture in Cummings’ Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, Cummings isn’t bent on setting the record straight (so to speak) for the sake of accurate inclusion. “At some point, [my research] veers into a sort of synthesis or fiction, where it’s based in fact, often, but it doesn’t stay there,” she explains. “The research forms the frame for the project, and then something else happens.”\u003c/p>\n\u003cp>That something else results in built environments where visitors can view the night-sky constellations of previous eras (in \u003ca href=\"https://www.torreya.info/Valley-of-Heart-s-Delight\" target=\"_blank\" rel=\"noopener\">one work\u003c/a>, before the founding of Silicon Valley; in another, \u003ca href=\"https://www.torreya.info/Frontier-Enclosure\" target=\"_blank\" rel=\"noopener\">the time before\u003c/a> the Gold Rush); performed recreations of found photographs (of \u003ca href=\"https://www.torreya.info/HARD-ROCKS\" target=\"_blank\" rel=\"noopener\">1970s gay porn\u003c/a>, as well as 19th-century \u003ca href=\"https://www.torreya.info/Destry-Rides-Again-Again\" target=\"_target\" rel=\"noopener\">saloon culture\u003c/a> mixed with a Dietrich film); a group of \u003ca href=\"https://www.torreya.info/Sailors-Signaling-Other-Sailors\" target=\"_blank\" rel=\"noopener\">“sailors”\u003c/a> bouncing a neon-green ray of light between mirrors; and an \u003ca href=\"https://www.kqed.org/arts/10617032/aquatic-park-exhibition-investigates-maritime-history\" target=\"_blank\" rel=\"noopener\">obscure recreation\u003c/a> of a folded 1939 San Francisco casino.\u003c/p>\n\u003cfigure id=\"attachment_13840778\" class=\"wp-caption aligncenter\" style=\"max-width: 1340px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors.jpg\" alt=\"Torreya Cummings, 'Sailors Signalling Other Sailors,' 2015.\" width=\"1340\" height=\"894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors.jpg 1340w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-520x347.jpg 520w\" sizes=\"auto, (max-width: 1340px) 100vw, 1340px\">\u003cfigcaption class=\"wp-caption-text\">Torreya Cummings, ‘Sailors Signalling Other Sailors,’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the complexities Cummings attends to is how strongly to identify or position oneself as an artist or a queer artist, and how that also can be revealed in the work itself—or not. “What does it mean to be a queer artist and how is this separated from being an artist generally? I do think oftentimes, you’re called upon to either perform or deny whatever your difference is,” Cummings says, which could risk repeating both the limited and limiting narratives she steers to avoid.\u003c/p>\n\u003cp>“A lot of times in my subject matter, it’s not totally clear or specifically queer,” she says. “But I think the lens, the perspective I have, the things that I’m interested in and the politics I have—the way I want to be in the world, are all affected by that. [Queerness] doesn’t have to be the subject matter, it can be the approach.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The interdisciplinary artist rethinks historical narratives through built spaces, letting \"at-odds\" elements remain in tandem. ",
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"title": "Redefining Pride: Roaming Through Torreya Cummings’ Off-Camera Histories | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"https://www.kqed.org/arts/tag/redefining-pride\" target=\"_blank\" rel=\"noopener\">Redefining Pride: The East Bay’s Queer Artists\u003c/a>\u003ci>, a series highlighting the work of queer-identified artists in Oakland and Berkeley. Through printmaking, photography, painting and interdisciplinary work, these visual artists celebrate people, histories and causes often sidelined within mainstream presentations of the queer community.\u003c/i>\u003c/p>\n\u003cp>For many, the phrase “landscape art” evokes paintings of rolling hills and photographs of desert horizons. But these are two-dimensional renderings of three-dimensional spaces, spaces replete with sounds, scents and textures. For interdisciplinary artist \u003ca href=\"https://www.torreya.info/\" target=\"_blank\" rel=\"noopener\">Torreya Cummings\u003c/a>, such flattening is counterintuitive; landscapes are multisensory terrains meant to be explored.\u003c/p>\n\u003cp>“I spent a lot of time outside as a kid,” Cummings says of her rural upbringing in the Central Valley. “Landscape has never seemed like a static thing. It’s an environment that you’re in, and it’s complex. You’re not just looking at it, you’re experiencing and interacting with it.”\u003c/p>\n\u003cfigure id=\"attachment_13841060\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841060\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200.jpg\" alt=\"Erasing the hard lines separating "urban" and "rural" in Cummings' Oakland studio.\" width=\"1200\" height=\"864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-1180x850.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-960x691.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-520x374.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Erasing the hard lines separating “urban” and “rural” in Cummings’ Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This attitude helps explain the artist’s multidimensional work, which tends to invite viewers to enter a temporary site, whether a built environment or a site-specific performance. In a sense, she creates experiences for people to roam through like a real landscape, though on a much smaller scale than a forest or field.\u003c/p>\n\u003cp>A recent multimedia installation commissioned by and on view at \u003ca href=\"http://museumca.org/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> for just under two years (it closed at the end of April 2018) encapsulated that approach. In \u003cem>Notes from ‘Camp’: AKA Transdimensional Ghost Town Discotheque\u003c/em>, the three-dimensional environment married a desert-town-inspired shanty with a (frankly) fabulous iridescent interior. Videos of shimmering crystals, streams and fish played to the sounds of 1970s disco.\u003c/p>\n\u003cfigure id=\"attachment_13840776\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13840776\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/162-1020x1360.jpg\" alt=\"Detail of the interior of Torreya Cumming's 'Notes From "Camp": AKA Transdimensional Ghost Town Discotheque', 2016-18 at the Oakland Museum of California.\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162.jpg 1500w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of the interior of Torreya Cumming’s ‘Notes From “Camp”: AKA Transdimensional Ghost Town Discotheque’, 2016-18 at the Oakland Museum of California. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work provided a way for Cummings to play out her curiosity about the supposed opposites of “rural” and “urban” spaces, \u003ca href=\"https://www.torreya.info/Notes-From-Camp\" target=\"_blank\" rel=\"noopener\">partially inspired\u003c/a> by \u003ca href=\"https://en.wikipedia.org/wiki/Notes_on_%22Camp%22\" target=\"_blank\" rel=\"noopener\">a foundational 1964 text\u003c/a> written by theorist Susan Sontag that discussed the concepts behind “camp,” an attitude expressing a penchant for kitchy, over-the-top aesthetics. Sontag poses “natural” in strict opposition to camp’s connection to the “urban” and to “artifice”—two notions firmly associated with modern queerness, as is camp itself.\u003c/p>\n\u003cp>Cummings’ sparkling hut is a spirited, if ambivalent, rejoinder to the essay; the installation not only allows contradictions to coexist, it seemingly celebrates them all. The installation also made tangible the perspective of a queer person who has traversed both rural and urban realms and felt, in both, equally valid senses of belonging and detachment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13841061\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200.jpg\" alt=\"Cummings in her Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cummings in her Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At first glance, finding queer belonging in rural areas appears improbable—like Sontag’s stark contrast may be altogether too accurate in real life. It’s true that urban centers often offer safe(r)-havens for the LGBTQ community (though this safety remains relative to race, class, ability and other forms of privilege). At the very least they enable social connections that are harder to come by in rural areas. And San Francisco, Oakland and the broader Bay Area boast a well-established queer history, where traditions of socializing through nightlife and bar or club culture run deep.\u003c/p>\n\u003cfigure id=\"attachment_13840779\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840779\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality.jpg\" alt=\"Torreya Cummings, 'Hard Rocks, The West is known for nothing if not for its hospitality,' 2014.\" width=\"720\" height=\"1079\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-520x779.jpg 520w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Torreya Cummings, ‘Hard Rocks, The West is known for nothing if not for its hospitality,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this area, where avant-garde drag is the norm and there is often greater understanding of gender diversity, Cummings says, “It feels like… whatever I am, I’m not the only one. And not just now, but historically: there is a place carved out for a sort of miscellaneous queer existence, and that is part of the reason this place feels like home for me.”\u003c/p>\n\u003cp>Nonetheless, Cummings has experienced her own internal push-and-pull of rural familiarity and urban connection. Having grown up in the small community of Sloughhouse before moving to Davis, San Francisco and, later, Oakland, she says that for a while, she felt torn between regions. “When I was in the country, I was like, ‘Get me out of here!’ And then when I was in the city, I was like, ‘Actually, I miss that other place,’” she says.\u003c/p>\n\u003cp>But, as the many layers of \u003ci>Notes from ‘Camp’\u003c/i> demonstrate, the artist is interested in letting “at-odds” elements exist in tandem. “The power of artmaking is that you can have contradiction,” Cummings says. “You can have ambivalence and you can have multiple meanings existing in one place.”\u003c/p>\n\u003cp>Cummings constantly considers the power structures producing specific historical narratives. Historical representations, whether in a museum, a textbook or even a public park, are human-made, and thus reflective of political agendas and cultural biases. These narratives are usually limited in scope—and \u003cem>limiting\u003c/em> for us as students, viewers, readers and, more broadly, as citizens.\u003c/p>\n\u003cfigure id=\"attachment_13841057\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841057\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200.jpg\" alt=\"Cummings in her Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cummings in her Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although queer culture is certainly a prime example of a marginalized history—and a personal interest for the artist—it’s only one example of the many narratives often omitted from mainstream depictions of the past.\u003c/p>\n\u003cp>“If you have the opportunity to question one aspect of a received narrative, then there’s also an opportunity to question other aspects of it,” she observes. “So, I might be looking for signs of queer pasts, but that’s not the only thing on the periphery. In trying to explore the world that’s off-camera, there are going to be other things that are relevant to that story.”\u003c/p>\n\u003cfigure id=\"attachment_13841059\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841059\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200.jpg\" alt=\"A diorama sculpture in Cummings' Oakland studio.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A diorama sculpture in Cummings’ Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, Cummings isn’t bent on setting the record straight (so to speak) for the sake of accurate inclusion. “At some point, [my research] veers into a sort of synthesis or fiction, where it’s based in fact, often, but it doesn’t stay there,” she explains. “The research forms the frame for the project, and then something else happens.”\u003c/p>\n\u003cp>That something else results in built environments where visitors can view the night-sky constellations of previous eras (in \u003ca href=\"https://www.torreya.info/Valley-of-Heart-s-Delight\" target=\"_blank\" rel=\"noopener\">one work\u003c/a>, before the founding of Silicon Valley; in another, \u003ca href=\"https://www.torreya.info/Frontier-Enclosure\" target=\"_blank\" rel=\"noopener\">the time before\u003c/a> the Gold Rush); performed recreations of found photographs (of \u003ca href=\"https://www.torreya.info/HARD-ROCKS\" target=\"_blank\" rel=\"noopener\">1970s gay porn\u003c/a>, as well as 19th-century \u003ca href=\"https://www.torreya.info/Destry-Rides-Again-Again\" target=\"_target\" rel=\"noopener\">saloon culture\u003c/a> mixed with a Dietrich film); a group of \u003ca href=\"https://www.torreya.info/Sailors-Signaling-Other-Sailors\" target=\"_blank\" rel=\"noopener\">“sailors”\u003c/a> bouncing a neon-green ray of light between mirrors; and an \u003ca href=\"https://www.kqed.org/arts/10617032/aquatic-park-exhibition-investigates-maritime-history\" target=\"_blank\" rel=\"noopener\">obscure recreation\u003c/a> of a folded 1939 San Francisco casino.\u003c/p>\n\u003cfigure id=\"attachment_13840778\" class=\"wp-caption aligncenter\" style=\"max-width: 1340px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors.jpg\" alt=\"Torreya Cummings, 'Sailors Signalling Other Sailors,' 2015.\" width=\"1340\" height=\"894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors.jpg 1340w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-520x347.jpg 520w\" sizes=\"auto, (max-width: 1340px) 100vw, 1340px\">\u003cfigcaption class=\"wp-caption-text\">Torreya Cummings, ‘Sailors Signalling Other Sailors,’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the complexities Cummings attends to is how strongly to identify or position oneself as an artist or a queer artist, and how that also can be revealed in the work itself—or not. “What does it mean to be a queer artist and how is this separated from being an artist generally? I do think oftentimes, you’re called upon to either perform or deny whatever your difference is,” Cummings says, which could risk repeating both the limited and limiting narratives she steers to avoid.\u003c/p>\n\u003cp>“A lot of times in my subject matter, it’s not totally clear or specifically queer,” she says. “But I think the lens, the perspective I have, the things that I’m interested in and the politics I have—the way I want to be in the world, are all affected by that. [Queerness] doesn’t have to be the subject matter, it can be the approach.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "Redefining Pride: Mia Nakano Collects Stories for Revolutionary Archives | KQED",
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"content": "\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"https://www.kqed.org/arts/tag/redefining-pride\" rel=\"noopener\" target=\"_blank\">Redefining Pride: The East Bay’s Queer Artists\u003c/a>\u003ci>, a series highlighting the work of queer-identified artists in Oakland and Berkeley. Through printmaking, photography, filmmaking and interdisciplinary work, these visual artists celebrate people, histories and causes often sidelined within mainstream presentations of the queer community.\u003c/i>\u003c/p>\n\u003cp>If photographer \u003ca href=\"http://www.mianakano.com/\" target=\"_blank\" rel=\"noopener\">Mia Nakano\u003c/a> struggled before 2010 to find publicly accessible resources about queer and trans Asian American history, her work since then has ensured that others will not have the same difficulties today.\u003c/p>\n\u003cp>Nakano’s portrait and oral storytelling endeavor, the \u003ca href=\"http://www.visibilityproject.org/\" target=\"_blank\" rel=\"noopener\">Visibility Project\u003c/a>, is the fruit of a decade of her creative labor to document the lived experiences of queer and trans Asian Americans across the United States. In the photographs, each interviewee sits in front of a simple gray, black or white background; though the setting is formulaic, the subjects are far from it. It’s not only that they each pose uniquely, or that their facial expressions range from grinning mid-laugh to defiant, confident stares. The over 200 people featured in the series reflect the wide spectrum of Asian American queer women and trans community members—and generates a dynamic, multifaceted and much-needed form of \u003ca href=\"https://www.kqed.org/arts/13522854/making-queer-and-trans-asian-american-identities-visible\" target=\"_blank\" rel=\"noopener\">visibility\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13840651\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840651\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Composite1200.jpg\" alt=\"Photographs by Mia Nakano for the Visibility Project, L: Bex Ahuja of New York; R: Un Jung Lim of New York.\" width=\"1200\" height=\"889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Composite1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Composite1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Composite1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Composite1200-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Composite1200-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Composite1200-1180x874.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Composite1200-960x711.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Composite1200-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Composite1200-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Composite1200-520x385.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Photographs by Mia Nakano for the Visibility Project, L: Bex Ahuja of New York; R: Un Jung Lim of New York. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a photographer so well-versed in portraiture, Nakano once avoided—even disliked—the photographing people. Before beginning the series, Nakano was on a 2007 photojournalism fellowship dedicated to environmental photography in Nepal. Although social justice-oriented in mission, her photos then depicted the impact of humans on natural and urban landscapes, such as trash piled in the street—pointedly non-figurative art.\u003c/p>\n\u003cp>“I was so uncomfortable communicating with and taking pictures of people, that was actually the thing I hated the most,” Nakano remembers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But when she began socially connecting with the LGBTQ community in Nepal, she found herself being asked for portraits—with a lot of enthusiasm from the subjects. “It broke me out of my shell,” she says. “I think that not actually speaking the language kind of helped and taking photos of people who really wanted to preen and be in front of the camera helped.”\u003c/p>\n\u003cfigure id=\"attachment_13840648\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840648\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200.jpg\" alt=\"A Warriors hat in Nakano's Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A Warriors hat in Nakano’s Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This experience of working directly with portraiture collided with another concern of Nakano’s. Having founded the photography section at \u003ca href=\"https://hyphenmagazine.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Hyphen\u003c/i>\u003c/a> magazine, which publishes writing on Asian American news and culture, Nakano was highly aware of the lack of non-stereotypical imagery and nuanced narratives about queer Asian Americans. Working as a media producer invested in LGBTQ stories, she was frustrated with the limited search results, both online and through other sources, that she found in 2010.\u003c/p>\n\u003cp>“I was really struggling to find history of the community, stories that I could connect with or identify with,” Nakano says. “Or, if I talked to people [as the press], they wouldn’t want to share their stories on the record; they wouldn’t want to be shown.” Representing queer and trans narratives through the media—a powerful and potentially empowering platform—requires a conscientious attention to the realities of risk for these communities; for many, being “out” can still be a danger to personal safety.\u003c/p>\n\u003cfigure id=\"attachment_13840661\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840661\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Comp2_1200.jpg\" alt=\"Photographs by Mia Nakano for the Visibility Project, L: Pauline Park of New York; R: Lokeilani Kaimana of Austin.\" width=\"1200\" height=\"889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Comp2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Comp2_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Comp2_1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Comp2_1200-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Comp2_1200-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Comp2_1200-1180x874.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Comp2_1200-960x711.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Comp2_1200-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Comp2_1200-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Comp2_1200-520x385.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Photographs by Mia Nakano for the Visibility Project, L: Pauline Park of New York; R: Lokeilani Kaimana of Austin. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The desire to find that history kickstarted a now-decade-long portraiture and storytelling series, which includes a book published in 2017. Although Nakano considers the Visibility Project to be a lifelong endeavor, she’s currently pausing to explore other methods of queer Asian American storytelling.\u003c/p>\n\u003cp>As the founder and co-director of \u003ca href=\"http://www.resiliencearchives.com/\" target=\"_blank\" rel=\"noopener\">the Resilience Archives\u003c/a>, Nakano collaborates with co-director Kat Evasco and others in this multimedia organization that foregrounds the lived experiences of individuals within the community through means of a \u003ca href=\"http://www.resiliencearchives.com/tour-locations/\">digital history tour\u003c/a>, storytelling and performance workshops (led by Evasco), and other interactive elements.\u003c/p>\n\u003cp>For Nakano, the digital history tour offers an innovative and more broadly accessible way to discover queer Asian American history. Originally conceived as a walking tour, the team instead sought a format that could be regionally specific without being locked into a physical space folks must visit or traverse themselves (difficult for non-locals and people with mobility concerns). The resulting interactive digital map provides a participatory platform filled with ephemera uploaded from individuals’ personal collections and like-minded local organizations, including photos, podcast clips, newsletters, fliers and “whatever we can get permission to publish from the content originator,” Nakano says.\u003c/p>\n\u003cfigure id=\"attachment_13840647\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840647\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200.jpg\" alt=\"Storage systems in Nakano's Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Storage systems in Nakano’s Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nakano believes not only in storytelling’s power to inform others, but also in its necessity to build new archives to fill with people’s own lived experiences.\u003c/p>\n\u003cp>“The Visibility Project and the Resilience Archives are essentially containers for other people to put their stories in, if they want to. We make it really easy for people to do that. Not just by providing the container, but by educating people on all these different layers: ethical, moral, digital… it’s including the storytelling workshops that Kat teaches. You get a safe space.” Importantly, these community-generated collections are made publicly available for others to find.\u003c/p>\n\u003cp>The organization was founded as a true collaboration, and thus doesn’t rely so heavily on Nakano’s singular time and energy. “It’s the first time I’ve been able to work with another collaborator in a real way,” she says. “Now we’re being recognized as industry experts, I would say, and getting tapped into different communities. I think there’s a way in which the Resilience Archives can shape and really shift the landscape of how queer Asian American history can been seen.”\u003c/p>\n\u003cfigure id=\"attachment_13840649\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840649\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200.jpg\" alt=\"A collection of used film rolls in Nakano's Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A collection of used film rolls in Nakano’s Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having worked so closely and intentionally on queer Asian American representation, Nakano considers herself fortunate to have found her own social networks in the Bay Area, where she has lived since 2001, and the East Bay—mostly Oakland—for 15 of those years. “I have a really strong community, and a social, cultural base in the Bay Area that has given me a lot of strength and awareness and understanding,” she says.\u003c/p>\n\u003cp>“I also recognize that when I travel to different places, I am going into other communities,” Nakano observes. “I’m constantly learning about how to work with and engage with different communities. Folks who are undocumented, Native Hawaiian, Samoan and Muslim and queer—it’s a constant learning process for me. It really shapes how I look at the world; how I look at how people are treated, how I look at I’m treated.”\u003c/p>\n\u003cp>In addition to expanding the Resilience Archives’ mapping services to include more regions, Nakano is also developing a series of short films commissioned by the Smithsonian. The films will feature four queer Asian Pacific people, each in different cities, and will include both youth and elders. “The queer Asian American movement is young, and the people who started it, which really came out of the late 1970s, those elders are in their 60s and 70s now,” Nakano says. “They can pass down information and wisdom to the [new] movement leaders who are really struggling in similar ways.”\u003c/p>\n\u003cfigure id=\"attachment_13840646\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200.jpg\" alt=\"Nakano and her printer.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nakano and her printer. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is rare that a creative artistic practice serves as conduit for the fortifying exchanges between people across generations, the spread of a country, or even the space between a gray backdrop and a camera’s lens. But that is exactly the case for Nakano’s output as she adapts and evolves the work over time.\u003c/p>\n\u003cp>When asked if Nakano ever imagined the Visibility Project or the Resilience Archives becoming what they now are, her answer is a flat no. “I had no idea. [The Visibility Project] still impacts people, because I get emails from young people in the Midwest saying, ‘I found this site and I’ve been feeling so alone, I’ve been struggling to find community out here.’ Now I can reach out to someone in that region and ask if they have time to talk to this person,” Nakano says. Most leaders and activists readily agree to help, understanding the importance of reducing alienation for queer and trans youth.\u003c/p>\n\u003cp>“That is when I see the work that I’m doing being the most successful. It’s not when it’s in an exhibition. It’s in those moments when I’ve built those relationships and they need support, because we all know how meaningful one person listening can be to somebody like that.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"https://www.kqed.org/arts/tag/redefining-pride\" rel=\"noopener\" target=\"_blank\">Redefining Pride: The East Bay’s Queer Artists\u003c/a>\u003ci>, a series highlighting the work of queer-identified artists in Oakland and Berkeley. Through printmaking, photography, filmmaking and interdisciplinary work, these visual artists celebrate people, histories and causes often sidelined within mainstream presentations of the queer community.\u003c/i>\u003c/p>\n\u003cp>If photographer \u003ca href=\"http://www.mianakano.com/\" target=\"_blank\" rel=\"noopener\">Mia Nakano\u003c/a> struggled before 2010 to find publicly accessible resources about queer and trans Asian American history, her work since then has ensured that others will not have the same difficulties today.\u003c/p>\n\u003cp>Nakano’s portrait and oral storytelling endeavor, the \u003ca href=\"http://www.visibilityproject.org/\" target=\"_blank\" rel=\"noopener\">Visibility Project\u003c/a>, is the fruit of a decade of her creative labor to document the lived experiences of queer and trans Asian Americans across the United States. In the photographs, each interviewee sits in front of a simple gray, black or white background; though the setting is formulaic, the subjects are far from it. It’s not only that they each pose uniquely, or that their facial expressions range from grinning mid-laugh to defiant, confident stares. The over 200 people featured in the series reflect the wide spectrum of Asian American queer women and trans community members—and generates a dynamic, multifaceted and much-needed form of \u003ca href=\"https://www.kqed.org/arts/13522854/making-queer-and-trans-asian-american-identities-visible\" target=\"_blank\" rel=\"noopener\">visibility\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13840651\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840651\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Composite1200.jpg\" alt=\"Photographs by Mia Nakano for the Visibility Project, L: Bex Ahuja of New York; R: Un Jung Lim of New York.\" width=\"1200\" height=\"889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Composite1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Composite1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Composite1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Composite1200-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Composite1200-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Composite1200-1180x874.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Composite1200-960x711.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Composite1200-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Composite1200-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Composite1200-520x385.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Photographs by Mia Nakano for the Visibility Project, L: Bex Ahuja of New York; R: Un Jung Lim of New York. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a photographer so well-versed in portraiture, Nakano once avoided—even disliked—the photographing people. Before beginning the series, Nakano was on a 2007 photojournalism fellowship dedicated to environmental photography in Nepal. Although social justice-oriented in mission, her photos then depicted the impact of humans on natural and urban landscapes, such as trash piled in the street—pointedly non-figurative art.\u003c/p>\n\u003cp>“I was so uncomfortable communicating with and taking pictures of people, that was actually the thing I hated the most,” Nakano remembers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But when she began socially connecting with the LGBTQ community in Nepal, she found herself being asked for portraits—with a lot of enthusiasm from the subjects. “It broke me out of my shell,” she says. “I think that not actually speaking the language kind of helped and taking photos of people who really wanted to preen and be in front of the camera helped.”\u003c/p>\n\u003cfigure id=\"attachment_13840648\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840648\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200.jpg\" alt=\"A Warriors hat in Nakano's Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__19_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A Warriors hat in Nakano’s Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This experience of working directly with portraiture collided with another concern of Nakano’s. Having founded the photography section at \u003ca href=\"https://hyphenmagazine.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Hyphen\u003c/i>\u003c/a> magazine, which publishes writing on Asian American news and culture, Nakano was highly aware of the lack of non-stereotypical imagery and nuanced narratives about queer Asian Americans. Working as a media producer invested in LGBTQ stories, she was frustrated with the limited search results, both online and through other sources, that she found in 2010.\u003c/p>\n\u003cp>“I was really struggling to find history of the community, stories that I could connect with or identify with,” Nakano says. “Or, if I talked to people [as the press], they wouldn’t want to share their stories on the record; they wouldn’t want to be shown.” Representing queer and trans narratives through the media—a powerful and potentially empowering platform—requires a conscientious attention to the realities of risk for these communities; for many, being “out” can still be a danger to personal safety.\u003c/p>\n\u003cfigure id=\"attachment_13840661\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840661\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Comp2_1200.jpg\" alt=\"Photographs by Mia Nakano for the Visibility Project, L: Pauline Park of New York; R: Lokeilani Kaimana of Austin.\" width=\"1200\" height=\"889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Comp2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Comp2_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Comp2_1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Comp2_1200-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Comp2_1200-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Comp2_1200-1180x874.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Comp2_1200-960x711.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Comp2_1200-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Comp2_1200-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Comp2_1200-520x385.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Photographs by Mia Nakano for the Visibility Project, L: Pauline Park of New York; R: Lokeilani Kaimana of Austin. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The desire to find that history kickstarted a now-decade-long portraiture and storytelling series, which includes a book published in 2017. Although Nakano considers the Visibility Project to be a lifelong endeavor, she’s currently pausing to explore other methods of queer Asian American storytelling.\u003c/p>\n\u003cp>As the founder and co-director of \u003ca href=\"http://www.resiliencearchives.com/\" target=\"_blank\" rel=\"noopener\">the Resilience Archives\u003c/a>, Nakano collaborates with co-director Kat Evasco and others in this multimedia organization that foregrounds the lived experiences of individuals within the community through means of a \u003ca href=\"http://www.resiliencearchives.com/tour-locations/\">digital history tour\u003c/a>, storytelling and performance workshops (led by Evasco), and other interactive elements.\u003c/p>\n\u003cp>For Nakano, the digital history tour offers an innovative and more broadly accessible way to discover queer Asian American history. Originally conceived as a walking tour, the team instead sought a format that could be regionally specific without being locked into a physical space folks must visit or traverse themselves (difficult for non-locals and people with mobility concerns). The resulting interactive digital map provides a participatory platform filled with ephemera uploaded from individuals’ personal collections and like-minded local organizations, including photos, podcast clips, newsletters, fliers and “whatever we can get permission to publish from the content originator,” Nakano says.\u003c/p>\n\u003cfigure id=\"attachment_13840647\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840647\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200.jpg\" alt=\"Storage systems in Nakano's Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__16_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Storage systems in Nakano’s Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nakano believes not only in storytelling’s power to inform others, but also in its necessity to build new archives to fill with people’s own lived experiences.\u003c/p>\n\u003cp>“The Visibility Project and the Resilience Archives are essentially containers for other people to put their stories in, if they want to. We make it really easy for people to do that. Not just by providing the container, but by educating people on all these different layers: ethical, moral, digital… it’s including the storytelling workshops that Kat teaches. You get a safe space.” Importantly, these community-generated collections are made publicly available for others to find.\u003c/p>\n\u003cp>The organization was founded as a true collaboration, and thus doesn’t rely so heavily on Nakano’s singular time and energy. “It’s the first time I’ve been able to work with another collaborator in a real way,” she says. “Now we’re being recognized as industry experts, I would say, and getting tapped into different communities. I think there’s a way in which the Resilience Archives can shape and really shift the landscape of how queer Asian American history can been seen.”\u003c/p>\n\u003cfigure id=\"attachment_13840649\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840649\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200.jpg\" alt=\"A collection of used film rolls in Nakano's Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__21_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A collection of used film rolls in Nakano’s Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having worked so closely and intentionally on queer Asian American representation, Nakano considers herself fortunate to have found her own social networks in the Bay Area, where she has lived since 2001, and the East Bay—mostly Oakland—for 15 of those years. “I have a really strong community, and a social, cultural base in the Bay Area that has given me a lot of strength and awareness and understanding,” she says.\u003c/p>\n\u003cp>“I also recognize that when I travel to different places, I am going into other communities,” Nakano observes. “I’m constantly learning about how to work with and engage with different communities. Folks who are undocumented, Native Hawaiian, Samoan and Muslim and queer—it’s a constant learning process for me. It really shapes how I look at the world; how I look at how people are treated, how I look at I’m treated.”\u003c/p>\n\u003cp>In addition to expanding the Resilience Archives’ mapping services to include more regions, Nakano is also developing a series of short films commissioned by the Smithsonian. The films will feature four queer Asian Pacific people, each in different cities, and will include both youth and elders. “The queer Asian American movement is young, and the people who started it, which really came out of the late 1970s, those elders are in their 60s and 70s now,” Nakano says. “They can pass down information and wisdom to the [new] movement leaders who are really struggling in similar ways.”\u003c/p>\n\u003cfigure id=\"attachment_13840646\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200.jpg\" alt=\"Nakano and her printer.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Mia_Nakano_Graham_Holoch__13_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nakano and her printer. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is rare that a creative artistic practice serves as conduit for the fortifying exchanges between people across generations, the spread of a country, or even the space between a gray backdrop and a camera’s lens. But that is exactly the case for Nakano’s output as she adapts and evolves the work over time.\u003c/p>\n\u003cp>When asked if Nakano ever imagined the Visibility Project or the Resilience Archives becoming what they now are, her answer is a flat no. “I had no idea. [The Visibility Project] still impacts people, because I get emails from young people in the Midwest saying, ‘I found this site and I’ve been feeling so alone, I’ve been struggling to find community out here.’ Now I can reach out to someone in that region and ask if they have time to talk to this person,” Nakano says. Most leaders and activists readily agree to help, understanding the importance of reducing alienation for queer and trans youth.\u003c/p>\n\u003cp>“That is when I see the work that I’m doing being the most successful. It’s not when it’s in an exhibition. It’s in those moments when I’ve built those relationships and they need support, because we all know how meaningful one person listening can be to somebody like that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Meet the East Bay Artists Redefining Pride",
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"content": "\u003cp>The Bay Area’s LGBTQ community has far more to celebrate than can possibly fit into one month of Pride—or even two months, including Oakland’s Pride in September. And for the visual artists profiled in KQED Arts’ series \u003cem>\u003ca href=\"https://www.kqed.org/arts/tag/redefining-pride\" rel=\"noopener\" target=\"_blank\">Redefining Pride: The East Bay’s Queer Artists\u003c/a>\u003c/em>, the work of creating greater visibility and acceptance doesn’t end with a dedicated month—it’s a year-long (and sometimes lifelong) pursuit.\u003c/p>\n\u003cp>In this series, running every Tuesday for the month of September, KQED Arts contributor \u003ca href=\"https://www.kqed.org/author/eholmes\" rel=\"noopener\" target=\"_blank\">Emily Holmes\u003c/a> highlights the work of queer-identified artists of the East Bay who are redefining our understanding of pride, foregrounding visual artists of color and a wide range of artistic approaches.\u003c/p>\n\u003cp>For these artists, pride is about honoring the people and histories not necessarily included in mainstream presentations of the queer community. It’s about pride of place; how they’ve made homes for themselves and found their artistic support networks in the East Bay. And it’s about creating, through their work, platforms for not just their own voices, but spaces in which others can see their lives and their stories reflected.\u003c/p>\n\u003cp>The artists of \u003cem>Redefining Pride\u003c/em> are just four examples of the Bay Area’s extraordinary artistic talent, who can serve as introductions, we hope, to a thriving scene of ambitious, radical and queer East Bay-rooted art.\u003c/p>\n\u003cp>\u003ci>—Sarah Hotchkiss, Visual Arts Editor, KQED Arts\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"headline": "Meet the East Bay Artists Redefining Pride",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area’s LGBTQ community has far more to celebrate than can possibly fit into one month of Pride—or even two months, including Oakland’s Pride in September. And for the visual artists profiled in KQED Arts’ series \u003cem>\u003ca href=\"https://www.kqed.org/arts/tag/redefining-pride\" rel=\"noopener\" target=\"_blank\">Redefining Pride: The East Bay’s Queer Artists\u003c/a>\u003c/em>, the work of creating greater visibility and acceptance doesn’t end with a dedicated month—it’s a year-long (and sometimes lifelong) pursuit.\u003c/p>\n\u003cp>In this series, running every Tuesday for the month of September, KQED Arts contributor \u003ca href=\"https://www.kqed.org/author/eholmes\" rel=\"noopener\" target=\"_blank\">Emily Holmes\u003c/a> highlights the work of queer-identified artists of the East Bay who are redefining our understanding of pride, foregrounding visual artists of color and a wide range of artistic approaches.\u003c/p>\n\u003cp>For these artists, pride is about honoring the people and histories not necessarily included in mainstream presentations of the queer community. It’s about pride of place; how they’ve made homes for themselves and found their artistic support networks in the East Bay. And it’s about creating, through their work, platforms for not just their own voices, but spaces in which others can see their lives and their stories reflected.\u003c/p>\n\u003cp>The artists of \u003cem>Redefining Pride\u003c/em> are just four examples of the Bay Area’s extraordinary artistic talent, who can serve as introductions, we hope, to a thriving scene of ambitious, radical and queer East Bay-rooted art.\u003c/p>\n\u003cp>\u003ci>—Sarah Hotchkiss, Visual Arts Editor, KQED Arts\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "At Outside Lands on Friday, LGBTQ Performers Steal the Show",
"headTitle": "At Outside Lands on Friday, LGBTQ Performers Steal the Show | KQED",
"content": "\u003cp>On the GastroMagic stage at Outside Lands on Friday, Aug. 10, drag performer Shangela of \u003cem>RuPaul’s Drag Race\u003c/em> fame marveled at the number of LGBTQ people who came to her cooking demonstration-turned-drag show.[contextly_sidebar id=”fvFDOVbB2fBk21rqpRjgzcfitzF3oRU6″]\u003c/p>\n\u003cp>“That’s why I love being home,” said San Francisco-raised chef Tiffani Faison, onstage teaching Shangela to make fried fish while the drag queen cracked cheeky, innuendo-filled one-liners.\u003c/p>\n\u003cp>“And I love being \u003cem>homo\u003c/em>,” Shangela retorted without missing a beat.\u003c/p>\n\u003cfigure id=\"attachment_13838695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838695\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7424-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at the Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside Lands’ \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">first-time inclusion of female headliners\u003c/a> (with Florence + the Machine on Saturday and Janet Jackson on Sunday) has been a hot topic since the lineup was announced in April. But as the fest kicked off on Friday in Golden Gate Park, it became apparent that the many LGBTQ artists and performers at this year’s Outside Lands attracted a queerer, more diverse audience, changing the tone from the bro-y vibe of years past.\u003c/p>\n\u003cp>After Faison laid the fried fish onto an enormous, baking pan-sized biscuit for an impossibly huge sandwich, the DJ hit play on RuPaul’s vogue house tune, “Call Me Mother,” and Shangela stripped off her chef outfit, revealing a Beyoncé-esque gold beaded leotard that glistened in the afternoon sun. The audience erupted with cheers and shouts of “yaaasss” as Shangela lip synced, twirled, kicked and death-dropped to the floor.\u003c/p>\n\u003cfigure id=\"attachment_13838675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7034-800x533.jpg\" alt=\"Perfume Genius performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Perfume Genius performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Shangela’s second set at the Barbary, the festival’s comedy tent, Friday’s lineup also included a sultry performance by Perfume Genius, the queer electronic pop balladeer. Perfume Genius, clad in vintage dress pants and a loud, blue-and-white button-down, sauntered across the stage like a sexy cowboy to reverb-laden guitar that evoked a Quentin Tarantino soundtrack. As his band built up instrumental layers to a crescendo of synths, he popped his hips and writhed suggestively on the floor as the many gender non-conforming, creatively dressed audience members cheered.\u003c/p>\n\u003cfigure id=\"attachment_13838689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838689\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7327-800x533.jpg\" alt=\"Carly Rae Jepsen performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carly Rae Jepsen performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in the afternoon, pop singer Carly Rae Jepsen, who has a massive, loyal following in the LGBTQ community, ignited an epic dance party consisting mostly of gay guys and their gal pals at the Twin Peaks stage. Groups of teenagers skipped and tossed their ponytails to “Boy Problems” and “Call Me Maybe.” Jepsen’s cotton-candy tunes, delivered with the bubbly attitude of a modern-day Cindy Lauper, elevated the mood with their uncomplicated expressions of infatuation and joy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/nananastia/status/1028085739580346370\u003c/p>\n\u003cp>To close out her set, a buff, shirtless go-go dancer with a rainbow cape joined Jepsen on stage. He pulled at least five technicolor wigs off his head one by one, the final wig exploding with gold glitter, as Jepsen and the audience watched in awe and delight.\u003c/p>\n\u003cp>Shangela, Perfume Genius and Carly Rae Jepsen centered queerness in a way I haven’t seen at previous editions of Outside Lands, which has only recently begun to meaningfully shift its focus from white- and male-dominated rock to more inclusive lineups. Judging by the smiling faces all around, the LGBTQ people in the audience were feeling the love.\u003c/p>\n\u003cfigure id=\"attachment_13838669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838669\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6904-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>Queer Eye\u003c/em>‘s Jonathan Van Ness doing a live podcast Saturday and Janelle Monae (who recently came out as pansexual) and R&B band The Internet (whose singer Syd openly sings about gay themes) performing on Sunday, this might just be the most LGTBQ-friendly Outside Lands yet. Let’s hope the trend continues.\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13838708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7586-800x533.jpg\" alt=\"The Weekend performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Weekend performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Weeknd’s Moody Hit Parade \u003c/strong>\u003c/p>\n\u003cp>Canadian chart-topper The Weeknd closed out Friday night at Outside Lands with a set that wove tracks from his debut mixtape, \u003cem>House of Balloons\u003c/em>, to his latest album, \u003cem>My Dear Melancholy\u003c/em>. While singing about feeling empty in the club on tracks like “Starboy,” “I Can’t Feel My Face” and “Low Life,” he sounded surprisingly soulful under cinematic, sunset-hued stage lights and heavy fog while the crowd never stopped moving their feet.\u003c/p>\n\u003cfigure id=\"attachment_13838677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838677\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7076-800x533.jpg\" alt=\"Caleborate performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Caleborate’s Set Was a Win for the Home Team\u003c/strong>\u003c/p>\n\u003cp>It was only three years ago that Caleborate came onto the East Bay music scene with his endearingly confessional debut, \u003cem>Hella Good. \u003c/em>Now with three albums under his belt, the breakout artist has quickly ascended to headlining small clubs like The New Parish and lighting up the Panhandle stage at Outside Lands, where legions of hometown fans chanted “Caleb! Caleb!”\u003c/p>\n\u003cp>As he performed the danceable, house-inflected jam “SMH” and the hyped-up confessional “Bankrobber,” Caleborate danced on top of the speakers and ran through the photo pit to high-five the front row. His set felt like a triumph for the Bay Area’s underground rap scene.\u003c/p>\n\u003cp>\u003cstrong>See more photos from Friday at Outside Lands below.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13838705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838705\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7536-800x533.jpg\" alt=\"The Weekend performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Weekend performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838696\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7426-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838703\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7488-800x533.jpg\" alt=\"Mac DeMarco performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838684\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7275-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838680\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7177-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838671\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6946-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7389-800x533.jpg\" alt=\"ODESZA performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODESZA performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838678\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7111-800x533.jpg\" alt=\"Caleborate performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6894-800x533.jpg\" alt=\"Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838702\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7471-800x533.jpg\" alt=\"Mac DeMarco performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838701\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7454-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7440-800x533.jpg\" alt=\"The Growlers perform at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Growlers perform at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838700\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7452-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7432-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7409-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838691\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7358-800x533.jpg\" alt=\"ODESZA performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODESZA performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7302-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7252-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7297-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838681\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7203-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838673\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6959-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6896-800x533.jpg\" alt=\"Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6912-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838672\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838672\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6951-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Outside Lands continues through Sunday, Aug. 12. For tips, guides, food and more, see \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\" target=\"_blank\" rel=\"noopener\">all of KQED’s Outside Lands coverage here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Carly Rae Jepsen, Perfume Genius and Shangela centered queerness on stage in a way Outside Lands has never seen. ",
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"description": "Carly Rae Jepsen, Perfume Genius and Shangela centered queerness on stage in a way Outside Lands has never seen. ",
"title": "At Outside Lands on Friday, LGBTQ Performers Steal the Show | KQED",
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"headline": "At Outside Lands on Friday, LGBTQ Performers Steal the Show",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the GastroMagic stage at Outside Lands on Friday, Aug. 10, drag performer Shangela of \u003cem>RuPaul’s Drag Race\u003c/em> fame marveled at the number of LGBTQ people who came to her cooking demonstration-turned-drag show.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“That’s why I love being home,” said San Francisco-raised chef Tiffani Faison, onstage teaching Shangela to make fried fish while the drag queen cracked cheeky, innuendo-filled one-liners.\u003c/p>\n\u003cp>“And I love being \u003cem>homo\u003c/em>,” Shangela retorted without missing a beat.\u003c/p>\n\u003cfigure id=\"attachment_13838695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838695\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7424-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at the Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside Lands’ \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">first-time inclusion of female headliners\u003c/a> (with Florence + the Machine on Saturday and Janet Jackson on Sunday) has been a hot topic since the lineup was announced in April. But as the fest kicked off on Friday in Golden Gate Park, it became apparent that the many LGBTQ artists and performers at this year’s Outside Lands attracted a queerer, more diverse audience, changing the tone from the bro-y vibe of years past.\u003c/p>\n\u003cp>After Faison laid the fried fish onto an enormous, baking pan-sized biscuit for an impossibly huge sandwich, the DJ hit play on RuPaul’s vogue house tune, “Call Me Mother,” and Shangela stripped off her chef outfit, revealing a Beyoncé-esque gold beaded leotard that glistened in the afternoon sun. The audience erupted with cheers and shouts of “yaaasss” as Shangela lip synced, twirled, kicked and death-dropped to the floor.\u003c/p>\n\u003cfigure id=\"attachment_13838675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7034-800x533.jpg\" alt=\"Perfume Genius performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Perfume Genius performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Shangela’s second set at the Barbary, the festival’s comedy tent, Friday’s lineup also included a sultry performance by Perfume Genius, the queer electronic pop balladeer. Perfume Genius, clad in vintage dress pants and a loud, blue-and-white button-down, sauntered across the stage like a sexy cowboy to reverb-laden guitar that evoked a Quentin Tarantino soundtrack. As his band built up instrumental layers to a crescendo of synths, he popped his hips and writhed suggestively on the floor as the many gender non-conforming, creatively dressed audience members cheered.\u003c/p>\n\u003cfigure id=\"attachment_13838689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838689\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7327-800x533.jpg\" alt=\"Carly Rae Jepsen performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carly Rae Jepsen performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in the afternoon, pop singer Carly Rae Jepsen, who has a massive, loyal following in the LGBTQ community, ignited an epic dance party consisting mostly of gay guys and their gal pals at the Twin Peaks stage. Groups of teenagers skipped and tossed their ponytails to “Boy Problems” and “Call Me Maybe.” Jepsen’s cotton-candy tunes, delivered with the bubbly attitude of a modern-day Cindy Lauper, elevated the mood with their uncomplicated expressions of infatuation and joy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>To close out her set, a buff, shirtless go-go dancer with a rainbow cape joined Jepsen on stage. He pulled at least five technicolor wigs off his head one by one, the final wig exploding with gold glitter, as Jepsen and the audience watched in awe and delight.\u003c/p>\n\u003cp>Shangela, Perfume Genius and Carly Rae Jepsen centered queerness in a way I haven’t seen at previous editions of Outside Lands, which has only recently begun to meaningfully shift its focus from white- and male-dominated rock to more inclusive lineups. Judging by the smiling faces all around, the LGBTQ people in the audience were feeling the love.\u003c/p>\n\u003cfigure id=\"attachment_13838669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838669\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6904-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>Queer Eye\u003c/em>‘s Jonathan Van Ness doing a live podcast Saturday and Janelle Monae (who recently came out as pansexual) and R&B band The Internet (whose singer Syd openly sings about gay themes) performing on Sunday, this might just be the most LGTBQ-friendly Outside Lands yet. Let’s hope the trend continues.\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13838708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7586-800x533.jpg\" alt=\"The Weekend performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Weekend performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Weeknd’s Moody Hit Parade \u003c/strong>\u003c/p>\n\u003cp>Canadian chart-topper The Weeknd closed out Friday night at Outside Lands with a set that wove tracks from his debut mixtape, \u003cem>House of Balloons\u003c/em>, to his latest album, \u003cem>My Dear Melancholy\u003c/em>. While singing about feeling empty in the club on tracks like “Starboy,” “I Can’t Feel My Face” and “Low Life,” he sounded surprisingly soulful under cinematic, sunset-hued stage lights and heavy fog while the crowd never stopped moving their feet.\u003c/p>\n\u003cfigure id=\"attachment_13838677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838677\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7076-800x533.jpg\" alt=\"Caleborate performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Caleborate’s Set Was a Win for the Home Team\u003c/strong>\u003c/p>\n\u003cp>It was only three years ago that Caleborate came onto the East Bay music scene with his endearingly confessional debut, \u003cem>Hella Good. \u003c/em>Now with three albums under his belt, the breakout artist has quickly ascended to headlining small clubs like The New Parish and lighting up the Panhandle stage at Outside Lands, where legions of hometown fans chanted “Caleb! Caleb!”\u003c/p>\n\u003cp>As he performed the danceable, house-inflected jam “SMH” and the hyped-up confessional “Bankrobber,” Caleborate danced on top of the speakers and ran through the photo pit to high-five the front row. His set felt like a triumph for the Bay Area’s underground rap scene.\u003c/p>\n\u003cp>\u003cstrong>See more photos from Friday at Outside Lands below.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13838705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838705\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7536-800x533.jpg\" alt=\"The Weekend performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Weekend performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838696\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7426-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838703\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7488-800x533.jpg\" alt=\"Mac DeMarco performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838684\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7275-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838680\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7177-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838671\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6946-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7389-800x533.jpg\" alt=\"ODESZA performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODESZA performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838678\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7111-800x533.jpg\" alt=\"Caleborate performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6894-800x533.jpg\" alt=\"Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838702\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7471-800x533.jpg\" alt=\"Mac DeMarco performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838701\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7454-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7440-800x533.jpg\" alt=\"The Growlers perform at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Growlers perform at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838700\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7452-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7432-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7409-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838691\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7358-800x533.jpg\" alt=\"ODESZA performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODESZA performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7302-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7252-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7297-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838681\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7203-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838673\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6959-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6896-800x533.jpg\" alt=\"Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6912-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838672\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838672\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6951-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Outside Lands continues through Sunday, Aug. 12. For tips, guides, food and more, see \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\" target=\"_blank\" rel=\"noopener\">all of KQED’s Outside Lands coverage here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Think of the \u003ca href=\"https://ybca.org/ybca-100\" target=\"_blank\" rel=\"noopener\">YBCA 100\u003c/a> as the Yerba Buena Center for the Arts’ more grassroots alternative to \u003cem>TIME\u003c/em>‘s list of the 100 most influential people on earth. While celebrities like Cardi B, Meghan Markle and Virgil Abloh grace the \u003ca href=\"http://time.com/collection/most-influential-people-2018/\" target=\"_blank\" rel=\"noopener\">\u003cem>TIME\u003c/em> 100\u003c/a> alongside mainstream politicians and high-profile artists, this year’s edition of the YBCA 100 features a mix of local and national changemakers and organizations working in arts and social justice.\u003c/p>\n\u003cp>https://youtu.be/WFADD7kC-lE\u003c/p>\n\u003cp>Honorees include Janet Mock, the best-selling author and activist who recently made her directorial debut on FX’s hit show \u003cem>Pose\u003c/em>; Steve Kerr, the Warriors’ head coach who regularly voices his opinion on national politics; photographer \u003ca href=\"https://www.kqed.org/arts/11508333/women-to-watch-brittani-sensabaugh-brittsense\" target=\"_blank\" rel=\"noopener\">Brittsense\u003c/a>, whose colorful images celebrate working-class African-American communities; Chicago-based rapper NoName, who makes poetry out of ineffable truths about gun violence; and Rafael Casal, an MC, educator and co-star of Daveed Diggs’ new film, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13808582/daveed-diggs-is-working-on-a-buddy-comedy-about-oakland-gentrification\" target=\"_blank\" rel=\"noopener\">Blindspotting\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There are also some unexpected faces: Ashley Sinn, the founder of the volunteer organization Small Hands with Helping Hearts, is YBCA’s youngest honoree at just nine years old. Along with individuals, the YBCA 100 also spotlights nonprofits and social movements, which this year include the “me too” movement; student activists from Marjorie Stoneman High School in Parkland, Florida; Red Bay Coffee, a local cafe that hosts social justice-focused events and employs formerly incarcerated people; and the Oakland organization Lesbians Who Tech.\u003c/p>\n\u003cp>More information about the honorees can be found at \u003ca href=\"https://ybca.org/ybca-100\" target=\"_blank\" rel=\"noopener\">YBCA’s website\u003c/a>. Many of them will be presenting at the \u003ca href=\"https://ybca.org/ybca-100-2018-summit\" target=\"_blank\" rel=\"noopener\">YBCA 100 summit\u003c/a> on Saturday, Nov. 3.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Think of the \u003ca href=\"https://ybca.org/ybca-100\" target=\"_blank\" rel=\"noopener\">YBCA 100\u003c/a> as the Yerba Buena Center for the Arts’ more grassroots alternative to \u003cem>TIME\u003c/em>‘s list of the 100 most influential people on earth. While celebrities like Cardi B, Meghan Markle and Virgil Abloh grace the \u003ca href=\"http://time.com/collection/most-influential-people-2018/\" target=\"_blank\" rel=\"noopener\">\u003cem>TIME\u003c/em> 100\u003c/a> alongside mainstream politicians and high-profile artists, this year’s edition of the YBCA 100 features a mix of local and national changemakers and organizations working in arts and social justice.\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/WFADD7kC-lE'\n title='//www.youtube.com/embed/WFADD7kC-lE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Honorees include Janet Mock, the best-selling author and activist who recently made her directorial debut on FX’s hit show \u003cem>Pose\u003c/em>; Steve Kerr, the Warriors’ head coach who regularly voices his opinion on national politics; photographer \u003ca href=\"https://www.kqed.org/arts/11508333/women-to-watch-brittani-sensabaugh-brittsense\" target=\"_blank\" rel=\"noopener\">Brittsense\u003c/a>, whose colorful images celebrate working-class African-American communities; Chicago-based rapper NoName, who makes poetry out of ineffable truths about gun violence; and Rafael Casal, an MC, educator and co-star of Daveed Diggs’ new film, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13808582/daveed-diggs-is-working-on-a-buddy-comedy-about-oakland-gentrification\" target=\"_blank\" rel=\"noopener\">Blindspotting\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There are also some unexpected faces: Ashley Sinn, the founder of the volunteer organization Small Hands with Helping Hearts, is YBCA’s youngest honoree at just nine years old. Along with individuals, the YBCA 100 also spotlights nonprofits and social movements, which this year include the “me too” movement; student activists from Marjorie Stoneman High School in Parkland, Florida; Red Bay Coffee, a local cafe that hosts social justice-focused events and employs formerly incarcerated people; and the Oakland organization Lesbians Who Tech.\u003c/p>\n\u003cp>More information about the honorees can be found at \u003ca href=\"https://ybca.org/ybca-100\" target=\"_blank\" rel=\"noopener\">YBCA’s website\u003c/a>. Many of them will be presenting at the \u003ca href=\"https://ybca.org/ybca-100-2018-summit\" target=\"_blank\" rel=\"noopener\">YBCA 100 summit\u003c/a> on Saturday, Nov. 3.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As \u003ca href=\"https://www.kqed.org/news/11678414/photos-bay-area-cities-join-nationwide-families-belong-together-marches\" target=\"_blank\" rel=\"noopener\">protests\u003c/a> against President Trump’s zero-tolerance immigration policies continue across the country, \u003ca href=\"http://juliosalgadoart.com/\" target=\"_blank\" rel=\"noopener\">Julio Salgado\u003c/a>‘s art feels more resonant than ever.\u003c/p>\n\u003cp>Salgado, a queer, undocumented artist and activist who splits his time between the Bay Area and Los Angeles, makes artwork to empower the LGBTQ immigrant community. He’s the artist projects coordinator of the pro-immigrant arts platform \u003ca href=\"http://www.culturestrike.org/about\" target=\"_blank\" rel=\"noopener\">CultureStrike\u003c/a> and the co-founder of the media platform \u003ca href=\"http://dreamersadrift.com\" target=\"_blank\" rel=\"noopener\">Dreamers Adrift\u003c/a>. But Salgado is best known for his project “I Am Undocu-Queer,” a series of illustrations and political posters that celebrate the creativity and complexity of his community. \u003c/p>\n\u003cp>As calls to reunite migrant families and abolish ICE intensify across the country, KQED Arts spoke with Salgado about his artwork and thoughts on the current situation at the U.S.-Mexico border.\u003c/p>\n\u003cfigure id=\"attachment_13836500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836500\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Queen-Butterfly-800x518.jpg\" alt=\"'Queer Butterfly' by Julio Salgado.\" width=\"800\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Queen-Butterfly-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Queen-Butterfly-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Queen-Butterfly-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Queen-Butterfly-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Queen-Butterfly-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Queen-Butterfly-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Queen-Butterfly-520x336.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Queen-Butterfly.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Queer Butterfly’ by Julio Salgado. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you tell me about yourself and your art practice?\u003c/strong>\u003c/p>\n\u003cp>I started making political art when I was in college. My major was journalism and I joined the school newspaper [at California State University, Long Beach]. I think being part of the newspaper and doing editorial cartoons helped me find a voice, as I was dealing with being undocumented and being queer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It took me like nine years to finish college, but I finished. I officially walked in 2010 with my degree in journalism. I think 2010 was a really important year, because that was the year that a lot of us were pushing for the DREAM Act. It was the year that we came out as undocumented and unafraid.\u003c/p>\n\u003cfigure id=\"attachment_13836502\" class=\"wp-caption alignright\" style=\"max-width: 647px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13836502\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Bigger-Than-Any-Border.jpg\" alt=\"'Bigger Than Any Border' by Julio Salgado.\" width=\"647\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Bigger-Than-Any-Border.jpg 647w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Bigger-Than-Any-Border-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Bigger-Than-Any-Border-240x371.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Bigger-Than-Any-Border-375x580.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Bigger-Than-Any-Border-520x804.jpg 520w\" sizes=\"(max-width: 647px) 100vw, 647px\">\u003cfigcaption class=\"wp-caption-text\">‘Bigger Than Any Border’ by Julio Salgado. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I wanted to do as an artist was to document those moments and document what was happening, because I felt that the media, sometimes, was not getting it right. I felt that I had to mix my artistic and journalistic backgrounds to document what was happening.\u003c/p>\n\u003cp>\u003cstrong>What’s your reaction to the current situation at the border?\u003c/strong>\u003c/p>\n\u003cp>One of the things that I have been telling my friends is that I haven’t cried. I know a lot of people are really sad and, of course, I’m really sad and it pains me, but this is a story I have been following and something I’ve known about for many years. \u003cspan style=\"font-weight: 400\">To me, art has been my therapy in dealing with a lot of these issues.\u003c/span>\u003c/p>\n\u003cp>I think art has been very instrumental for me to communicate a lot of my feelings about what is happening, as someone who has DACA and who is “protected,” I don’t know how much longer I am going to be protected. I can’t control anything that is around me. I can’t control the policies that are making it impossible for us to live decent human lives.\u003c/p>\n\u003cfigure id=\"attachment_13836513\" class=\"wp-caption alignleft\" style=\"max-width: 647px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13836513\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/HomoLand_11_17.jpg\" alt=\"'Homoland' by Julio Salgado.\" width=\"647\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/HomoLand_11_17.jpg 647w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/HomoLand_11_17-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/HomoLand_11_17-240x371.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/HomoLand_11_17-375x580.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/HomoLand_11_17-520x804.jpg 520w\" sizes=\"(max-width: 647px) 100vw, 647px\">\u003cfigcaption class=\"wp-caption-text\">‘Homoland’ by Julio Salgado. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you hope your artwork will convey? Who do you want to influence in this country?\u003c/strong>\u003c/p>\n\u003cp>For many years, when I started doing a lot of these artworks, my message—and the message for a lot of us—was to show this country that we’re good immigrants. The whole premise of the narrative around the DREAM Act was to convince the U.S. that, “Look! You could potentially give a green card and a path to citizenship [to people] who are going to college, who are going to pay taxes. We are the good crop. We are the good people you want to have on your team.” \u003c/p>\n\u003cp>Now, I think the art that I create is for us. And by “for us,” I mean for other queer people, other undocumented people, other people of color, because I want to make art that other people can see themselves in. I continue to make art that challenges people who might not know about the immigration experience, but I also think it’s important that, as artists, we don’t just create art that is victimizing. \u003cspan style=\"font-weight: 400\">I want to change the narrative for my people. That means creating art that does not put us in a perfect light, or a perfect immigrant narrative that only shows my good side.\u003c/span>\u003cspan style=\"font-weight: 400\"> It’s dangerous for us to show our flaws and so I hope that through my art, I can change that a little bit.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13836519\" class=\"wp-caption alignright\" style=\"max-width: 647px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13836519\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Destroy-White-Supremacy.jpg\" alt=\"'Destroy White Supremacy' by Julio Salgado.\" width=\"647\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Destroy-White-Supremacy.jpg 647w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Destroy-White-Supremacy-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Destroy-White-Supremacy-240x371.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Destroy-White-Supremacy-375x580.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Destroy-White-Supremacy-520x804.jpg 520w\" sizes=\"(max-width: 647px) 100vw, 647px\">\u003cfigcaption class=\"wp-caption-text\">‘Destroy White Supremacy’ by Julio Salgado. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Have Trump’s immigration policies changed how you feel about being out there with your immigration status?\u003c/strong>\u003c/p>\n\u003cp>It’s scary sometimes, especially when I get invited to college campuses to talk about my art. Sometimes I find myself in areas that are “Trump areas” and I do think about it. Who’s going to show up? I don’t mind engaging in conversation, but I do get afraid of what could potentially happen. \u003c/p>\n\u003cp>When Trump got elected in 2016, I got a lot of calls from people being worried, but I’m not going to let this administration throw me back in the closet. I am not going back to pretending I’m not queer or not telling my undocumented story because there are still kids out there who might feel alone. If they come across a piece of my art or a video about my story, they know they are not alone and that we’ve been through this before.\u003c/p>\n\u003cfigure id=\"attachment_13836514\" class=\"wp-caption alignleft\" style=\"max-width: 307px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13836514\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/I-will-not-show-you-my-papers.png\" alt=\"'I Will Not Show You My Papers' by Julio Salgado.\" width=\"307\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/I-will-not-show-you-my-papers.png 307w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/I-will-not-show-you-my-papers-160x248.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/I-will-not-show-you-my-papers-240x372.png 240w\" sizes=\"(max-width: 307px) 100vw, 307px\">\u003cfigcaption class=\"wp-caption-text\">‘I Will Not Show You My Papers’ by Julio Salgado. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How do you cope with the recent news about Trump’s immigration policies?\u003c/strong>\u003c/p>\n\u003cp>I feel like I built a really thick skin over the last couple of years. I always look to my friends and other undocumented people in my community. I could talk to another undocumented person and sometimes I don’t even need to say anything, because they get it. It’s not just about being on the streets rallying. It’s about being there for each other, whether that means a hug or living life and going to the movies. Just living a normal life really helps us cope with the current situation that is happening.\u003c/p>\n\u003cp>\u003cstrong>Which one of your posters is your favorite and why?\u003c/strong>\u003c/p>\n\u003cp>One of things I love to do while creating posters is collaborating with other folks. In 2013, I created the images for the \u003ci>I Am Undocu-Queer\u003c/i> poster series. “Undocu-Queer” is a term that means that you are undocumented and that you’re queer. It was a word born out of an intersection, being intentional about talking about these issues. Collaboration, for me, is very important because a lot of the people that were part of the series were people who had been leading civil disobedient action, and a lot of them were undocumented and queer. \u003c/p>\n\u003cp>In the immigrant community, we had a lot of people who were very religious. When it came time to talk about queer issues, they would be like, “Let’s not talk about that.”\u003c/p>\n\u003cp>To me, that’s very hypocritical. When you are fighting for social justice, you can’t pick and choose. “Undocu-Queer” really connected the dots for a lot of us and I got to collaborate with a lot of folks I admire, who are amazing organizers, who are people getting themselves out there and really informing the artwork that I do. \u003c/p>\n\u003cp>I use a lot of bright color and I am very intentional about that because, as people of color, we are always sad and we are always worried what’s going to happen, but we are also joyous. We party. We celebrate and, to me, using bright colors is my way of celebrating my communities. \u003c/p>\n\u003cp>https://vimeo.com/21139066\u003c/p>\n\u003cp>\u003cstrong>What’s the role of art in political and social movements?\u003c/strong>\u003c/p>\n\u003cp>Our role is to document what is happening right now. In the past decade, there have been a lot of undocumented filmmakers using video and creating content and really documenting our experiences. I think those are documents of what’s going on because, in the future, people might look back to what’s happening right now and the last thing I want people to think about us is that we were victims. We were victims that were oppressed, but these videos and these pieces of art are documents that show we were also resilient and creative. \u003c/p>\n\u003cfigure id=\"attachment_13836524\" class=\"wp-caption alignright\" style=\"max-width: 738px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13836524\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Arrest-Ice.png\" alt=\"'Arrest ICE' By Julio Salgado.\" width=\"738\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Arrest-Ice.png 738w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Arrest-Ice-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Arrest-Ice-240x155.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Arrest-Ice-375x242.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Arrest-Ice-520x335.png 520w\" sizes=\"(max-width: 738px) 100vw, 738px\">\u003cfigcaption class=\"wp-caption-text\">‘Arrest ICE’ By Julio Salgado. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What are your future goals and projects?\u003c/strong>\u003c/p>\n\u003cp>One of the things that I am working through with my art is to think about the future because, as an immigrant, the only thing we can afford to think about is the present and how we are dealing with what’s being thrown at us. I’ve been talking a lot about documenting the past and documenting what’s happening, but it’s really hard thinking about the future without feeling a little bit less hopeful. “What’s next? What is this administration going to throw at us?” \u003c/p>\n\u003cp>Personally, I want to infiltrate Hollywood. The ways the rest of this country learns about the other is through TV and film. If we think about why there was more support for gay marriage in the last couple of years, it’s because you had shows like \u003cem>Ellen\u003c/em>, you had \u003cem>Will and Grace\u003c/em>. You had characters that, all of the sudden, people can relate to, even though they were gay characters. That really created a shift in narrative about the LGBT community.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Not everybody goes to a rally or takes a class about immigration in their community college, but a lot of people watch TV. In order for Hollywood to tell our stories correctly, we need to be the ones telling those stories. We need to be up there, speaking on our own behalf because that’s the only way that those stories are going to be honest and true.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As \u003ca href=\"https://www.kqed.org/news/11678414/photos-bay-area-cities-join-nationwide-families-belong-together-marches\" target=\"_blank\" rel=\"noopener\">protests\u003c/a> against President Trump’s zero-tolerance immigration policies continue across the country, \u003ca href=\"http://juliosalgadoart.com/\" target=\"_blank\" rel=\"noopener\">Julio Salgado\u003c/a>‘s art feels more resonant than ever.\u003c/p>\n\u003cp>Salgado, a queer, undocumented artist and activist who splits his time between the Bay Area and Los Angeles, makes artwork to empower the LGBTQ immigrant community. He’s the artist projects coordinator of the pro-immigrant arts platform \u003ca href=\"http://www.culturestrike.org/about\" target=\"_blank\" rel=\"noopener\">CultureStrike\u003c/a> and the co-founder of the media platform \u003ca href=\"http://dreamersadrift.com\" target=\"_blank\" rel=\"noopener\">Dreamers Adrift\u003c/a>. But Salgado is best known for his project “I Am Undocu-Queer,” a series of illustrations and political posters that celebrate the creativity and complexity of his community. \u003c/p>\n\u003cp>As calls to reunite migrant families and abolish ICE intensify across the country, KQED Arts spoke with Salgado about his artwork and thoughts on the current situation at the U.S.-Mexico border.\u003c/p>\n\u003cfigure id=\"attachment_13836500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836500\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Queen-Butterfly-800x518.jpg\" alt=\"'Queer Butterfly' by Julio Salgado.\" width=\"800\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Queen-Butterfly-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Queen-Butterfly-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Queen-Butterfly-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Queen-Butterfly-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Queen-Butterfly-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Queen-Butterfly-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Queen-Butterfly-520x336.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Queen-Butterfly.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Queer Butterfly’ by Julio Salgado. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you tell me about yourself and your art practice?\u003c/strong>\u003c/p>\n\u003cp>I started making political art when I was in college. My major was journalism and I joined the school newspaper [at California State University, Long Beach]. I think being part of the newspaper and doing editorial cartoons helped me find a voice, as I was dealing with being undocumented and being queer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It took me like nine years to finish college, but I finished. I officially walked in 2010 with my degree in journalism. I think 2010 was a really important year, because that was the year that a lot of us were pushing for the DREAM Act. It was the year that we came out as undocumented and unafraid.\u003c/p>\n\u003cfigure id=\"attachment_13836502\" class=\"wp-caption alignright\" style=\"max-width: 647px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13836502\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Bigger-Than-Any-Border.jpg\" alt=\"'Bigger Than Any Border' by Julio Salgado.\" width=\"647\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Bigger-Than-Any-Border.jpg 647w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Bigger-Than-Any-Border-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Bigger-Than-Any-Border-240x371.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Bigger-Than-Any-Border-375x580.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Bigger-Than-Any-Border-520x804.jpg 520w\" sizes=\"(max-width: 647px) 100vw, 647px\">\u003cfigcaption class=\"wp-caption-text\">‘Bigger Than Any Border’ by Julio Salgado. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I wanted to do as an artist was to document those moments and document what was happening, because I felt that the media, sometimes, was not getting it right. I felt that I had to mix my artistic and journalistic backgrounds to document what was happening.\u003c/p>\n\u003cp>\u003cstrong>What’s your reaction to the current situation at the border?\u003c/strong>\u003c/p>\n\u003cp>One of the things that I have been telling my friends is that I haven’t cried. I know a lot of people are really sad and, of course, I’m really sad and it pains me, but this is a story I have been following and something I’ve known about for many years. \u003cspan style=\"font-weight: 400\">To me, art has been my therapy in dealing with a lot of these issues.\u003c/span>\u003c/p>\n\u003cp>I think art has been very instrumental for me to communicate a lot of my feelings about what is happening, as someone who has DACA and who is “protected,” I don’t know how much longer I am going to be protected. I can’t control anything that is around me. I can’t control the policies that are making it impossible for us to live decent human lives.\u003c/p>\n\u003cfigure id=\"attachment_13836513\" class=\"wp-caption alignleft\" style=\"max-width: 647px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13836513\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/HomoLand_11_17.jpg\" alt=\"'Homoland' by Julio Salgado.\" width=\"647\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/HomoLand_11_17.jpg 647w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/HomoLand_11_17-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/HomoLand_11_17-240x371.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/HomoLand_11_17-375x580.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/HomoLand_11_17-520x804.jpg 520w\" sizes=\"(max-width: 647px) 100vw, 647px\">\u003cfigcaption class=\"wp-caption-text\">‘Homoland’ by Julio Salgado. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you hope your artwork will convey? Who do you want to influence in this country?\u003c/strong>\u003c/p>\n\u003cp>For many years, when I started doing a lot of these artworks, my message—and the message for a lot of us—was to show this country that we’re good immigrants. The whole premise of the narrative around the DREAM Act was to convince the U.S. that, “Look! You could potentially give a green card and a path to citizenship [to people] who are going to college, who are going to pay taxes. We are the good crop. We are the good people you want to have on your team.” \u003c/p>\n\u003cp>Now, I think the art that I create is for us. And by “for us,” I mean for other queer people, other undocumented people, other people of color, because I want to make art that other people can see themselves in. I continue to make art that challenges people who might not know about the immigration experience, but I also think it’s important that, as artists, we don’t just create art that is victimizing. \u003cspan style=\"font-weight: 400\">I want to change the narrative for my people. That means creating art that does not put us in a perfect light, or a perfect immigrant narrative that only shows my good side.\u003c/span>\u003cspan style=\"font-weight: 400\"> It’s dangerous for us to show our flaws and so I hope that through my art, I can change that a little bit.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13836519\" class=\"wp-caption alignright\" style=\"max-width: 647px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13836519\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Destroy-White-Supremacy.jpg\" alt=\"'Destroy White Supremacy' by Julio Salgado.\" width=\"647\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Destroy-White-Supremacy.jpg 647w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Destroy-White-Supremacy-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Destroy-White-Supremacy-240x371.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Destroy-White-Supremacy-375x580.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Destroy-White-Supremacy-520x804.jpg 520w\" sizes=\"(max-width: 647px) 100vw, 647px\">\u003cfigcaption class=\"wp-caption-text\">‘Destroy White Supremacy’ by Julio Salgado. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Have Trump’s immigration policies changed how you feel about being out there with your immigration status?\u003c/strong>\u003c/p>\n\u003cp>It’s scary sometimes, especially when I get invited to college campuses to talk about my art. Sometimes I find myself in areas that are “Trump areas” and I do think about it. Who’s going to show up? I don’t mind engaging in conversation, but I do get afraid of what could potentially happen. \u003c/p>\n\u003cp>When Trump got elected in 2016, I got a lot of calls from people being worried, but I’m not going to let this administration throw me back in the closet. I am not going back to pretending I’m not queer or not telling my undocumented story because there are still kids out there who might feel alone. If they come across a piece of my art or a video about my story, they know they are not alone and that we’ve been through this before.\u003c/p>\n\u003cfigure id=\"attachment_13836514\" class=\"wp-caption alignleft\" style=\"max-width: 307px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13836514\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/I-will-not-show-you-my-papers.png\" alt=\"'I Will Not Show You My Papers' by Julio Salgado.\" width=\"307\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/I-will-not-show-you-my-papers.png 307w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/I-will-not-show-you-my-papers-160x248.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/I-will-not-show-you-my-papers-240x372.png 240w\" sizes=\"(max-width: 307px) 100vw, 307px\">\u003cfigcaption class=\"wp-caption-text\">‘I Will Not Show You My Papers’ by Julio Salgado. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How do you cope with the recent news about Trump’s immigration policies?\u003c/strong>\u003c/p>\n\u003cp>I feel like I built a really thick skin over the last couple of years. I always look to my friends and other undocumented people in my community. I could talk to another undocumented person and sometimes I don’t even need to say anything, because they get it. It’s not just about being on the streets rallying. It’s about being there for each other, whether that means a hug or living life and going to the movies. Just living a normal life really helps us cope with the current situation that is happening.\u003c/p>\n\u003cp>\u003cstrong>Which one of your posters is your favorite and why?\u003c/strong>\u003c/p>\n\u003cp>One of things I love to do while creating posters is collaborating with other folks. In 2013, I created the images for the \u003ci>I Am Undocu-Queer\u003c/i> poster series. “Undocu-Queer” is a term that means that you are undocumented and that you’re queer. It was a word born out of an intersection, being intentional about talking about these issues. Collaboration, for me, is very important because a lot of the people that were part of the series were people who had been leading civil disobedient action, and a lot of them were undocumented and queer. \u003c/p>\n\u003cp>In the immigrant community, we had a lot of people who were very religious. When it came time to talk about queer issues, they would be like, “Let’s not talk about that.”\u003c/p>\n\u003cp>To me, that’s very hypocritical. When you are fighting for social justice, you can’t pick and choose. “Undocu-Queer” really connected the dots for a lot of us and I got to collaborate with a lot of folks I admire, who are amazing organizers, who are people getting themselves out there and really informing the artwork that I do. \u003c/p>\n\u003cp>I use a lot of bright color and I am very intentional about that because, as people of color, we are always sad and we are always worried what’s going to happen, but we are also joyous. We party. We celebrate and, to me, using bright colors is my way of celebrating my communities. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>What’s the role of art in political and social movements?\u003c/strong>\u003c/p>\n\u003cp>Our role is to document what is happening right now. In the past decade, there have been a lot of undocumented filmmakers using video and creating content and really documenting our experiences. I think those are documents of what’s going on because, in the future, people might look back to what’s happening right now and the last thing I want people to think about us is that we were victims. We were victims that were oppressed, but these videos and these pieces of art are documents that show we were also resilient and creative. \u003c/p>\n\u003cfigure id=\"attachment_13836524\" class=\"wp-caption alignright\" style=\"max-width: 738px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13836524\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Arrest-Ice.png\" alt=\"'Arrest ICE' By Julio Salgado.\" width=\"738\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Arrest-Ice.png 738w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Arrest-Ice-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Arrest-Ice-240x155.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Arrest-Ice-375x242.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Arrest-Ice-520x335.png 520w\" sizes=\"(max-width: 738px) 100vw, 738px\">\u003cfigcaption class=\"wp-caption-text\">‘Arrest ICE’ By Julio Salgado. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What are your future goals and projects?\u003c/strong>\u003c/p>\n\u003cp>One of the things that I am working through with my art is to think about the future because, as an immigrant, the only thing we can afford to think about is the present and how we are dealing with what’s being thrown at us. I’ve been talking a lot about documenting the past and documenting what’s happening, but it’s really hard thinking about the future without feeling a little bit less hopeful. “What’s next? What is this administration going to throw at us?” \u003c/p>\n\u003cp>Personally, I want to infiltrate Hollywood. The ways the rest of this country learns about the other is through TV and film. If we think about why there was more support for gay marriage in the last couple of years, it’s because you had shows like \u003cem>Ellen\u003c/em>, you had \u003cem>Will and Grace\u003c/em>. You had characters that, all of the sudden, people can relate to, even though they were gay characters. That really created a shift in narrative about the LGBT community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not everybody goes to a rally or takes a class about immigration in their community college, but a lot of people watch TV. In order for Hollywood to tell our stories correctly, we need to be the ones telling those stories. We need to be up there, speaking on our own behalf because that’s the only way that those stories are going to be honest and true.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco is known as a gay mecca, but Pride hasn’t always been mainstream. In the ’60s, gender non-conforming and visibly gay people were often \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\" target=\"_blank\" rel=\"noopener\">targets of police harassment\u003c/a> and discrimination. LGBTQ culture thrived in the night—when queer people could express themselves among peers without judgment.\u003c/p>\n\u003cp>As we celebrate the Bay Area LGBTQ community this Pride month, KQED recently unearthed a rare video of a 1968 gay costume ball, with footage of fabulous drag queens and socialites dancing the night away on Columbus Avenue in San Francisco, likely at The Village Club.\u003c/p>\n\u003cp>Watch the video above and read about today’s drag scene in \u003ca href=\"https://www.kqed.org/arts/series/changing-face-of-drag\" target=\"_blank\" rel=\"noopener\">\u003cem>The Changing Face of Drag\u003c/em>\u003c/a>, which celebrates the queer community’s creativity, diversity and continuing resilience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco is known as a gay mecca, but Pride hasn’t always been mainstream. In the ’60s, gender non-conforming and visibly gay people were often \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\" target=\"_blank\" rel=\"noopener\">targets of police harassment\u003c/a> and discrimination. LGBTQ culture thrived in the night—when queer people could express themselves among peers without judgment.\u003c/p>\n\u003cp>As we celebrate the Bay Area LGBTQ community this Pride month, KQED recently unearthed a rare video of a 1968 gay costume ball, with footage of fabulous drag queens and socialites dancing the night away on Columbus Avenue in San Francisco, likely at The Village Club.\u003c/p>\n\u003cp>Watch the video above and read about today’s drag scene in \u003ca href=\"https://www.kqed.org/arts/series/changing-face-of-drag\" target=\"_blank\" rel=\"noopener\">\u003cem>The Changing Face of Drag\u003c/em>\u003c/a>, which celebrates the queer community’s creativity, diversity and continuing resilience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "juanita-more-beloved-drag-mother-is-queering-san-francisco-politics",
"title": "Juanita MORE!, Beloved Drag Mother, is Queering San Francisco Politics",
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"content": "\u003cp>\u003cem>Editor’s Note: \u003c/em>The Changing Face of Drag\u003cem> is a five-part KQED Arts series spotlighting innovative performers pushing the boundaries of drag in the Bay Area. Click to read more \u003ca href=\"https://www.kqed.org/arts/series/changing-face-of-drag\" target=\"_blank\" rel=\"noopener\">about the series\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>On the day of the San Francisco mayoral election, \u003ca href=\"http://juanitamore.com\" target=\"_blank\" rel=\"noopener\">Juanita MORE!\u003c/a> couldn’t meet because she had too many places to be.\u003c/p>\n\u003cfigure id=\"attachment_13835563\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835563\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/juanitainfo.jpg\" alt=\"Creo Noveno/KQED\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/juanitainfo.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/juanitainfo-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/juanitainfo-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Creo Noveno/KQED\u003c/figcaption>\u003c/figure>\n\u003cp>In a last-minute campaign effort, she rode around the Castro in a convertible with candidate Mark Leno, her red tassel earrings and cotton candy-shaped wig blowing in the wind. (“My wig stayed on my head, too,” she says.) After hearing Leno speak at Harvey Milk Plaza, she stopped by a campaign party for Rafael Mandelman—a young, gay politician who wore drag at a recent edition of MORE!’s party, Powerblouse—to congratulate him on his win for District 8 supervisor.\u003c/p>\n\u003cp>Drag, an art form that bucks the heteronormative status quo, has been \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\" target=\"_blank\" rel=\"noopener\">a central part of queer resistance\u003c/a> for decades. But MORE!, who’s performed in San Francisco for nearly 30 years, is one of the only drag queens to leverage her popularity to make an impact on mainstream city politics.\u003c/p>\n\u003cfigure id=\"attachment_13835554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835554\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A8506-800x533.jpg\" alt=\"Juanita MORE! leverages her popularity as a drag queen to rally for political causes. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juanita MORE! leverages her popularity as a drag queen to rally for political causes. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to campaigning for queer candidates and mobilizing the LGBTQ community to vote with her \u003ca href=\"http://juanitamore.com/vote-1/\" target=\"_blank\" rel=\"noopener\">election guides\u003c/a>, MORE! uses her platform to raise money for a variety of causes. Her party Powerblouse (where she and her drag mother, Glamamore, give newbies their first-time drag makeovers) raises money for the \u003ca href=\"https://theqfoundation.org/\" target=\"_blank\" rel=\"noopener\">Q Foundation\u003c/a>, which helps HIV- and AIDS-positive people secure affordable housing. And her wildly popular \u003ca href=\"http://juanitamore.com/pride/\" target=\"_blank\" rel=\"noopener\">Pride celebrations\u003c/a>, taking place at \u003ca href=\"https://www.kqed.org/arts/13835038/former-fillmore-west-to-host-first-event-in-45-years-for-pride-weekend\" target=\"_blank\" rel=\"noopener\">SVN West\u003c/a> and Jones during the June 23–24 Pride weekend, benefit \u003ca href=\"https://transgenderlawcenter.org/programs/truth\" target=\"_blank\" rel=\"noopener\">TRUTH (TRans yoUTH)\u003c/a>, a program from the Transgender Law Center that gives trans young people a safe space to build community and share their struggles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>MORE! specializes in an old-school, Hollywood glamour of big hair, an hourglass figure and flowing couture gowns (think Bette Davis, Celia Cruz and Diana Ross). She says that she didn’t always see her drag as part of a bigger purpose. “Looking back on those early years, I was probably like every other young drag queen who gets born every day,” she says. “You’re just going out all the time; you’re performing wherever for a dime; you’re drinking all night.”\u003c/p>\n\u003cfigure id=\"attachment_13835555\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835555\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A8410-800x1200.jpg\" alt=\"Evening wear is Juanita MORE!'s specialty. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410.jpg 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evening wear is Juanita MORE!’s specialty. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But as she matured over the course of her career, so did her approach. As a beloved and experienced drag mother and grandmother who’s initiated two generations of performers into the art form, she began to notice that people looked to her for guidance not just on where find the hottest parties with the cutest guys, but on many civic issues, too.\u003c/p>\n\u003cp>“People come to me all the time, especially in the political world, in a way of like, ‘Let’s sit down and talk about this. I wanna share something with you that we need to really think about and figure out and fix it before it really affects our city,'” she says.\u003c/p>\n\u003cp>MORE! was born in Fremont and raised in Hayward, where she remembers passing by five gay bars on the way home from high school. But she didn’t become interested in drag until she was in her 20s and living in New York, immersed in its late-’80s gay club culture. When she returned to San Francisco in 1992, her good friend Glamamore, who followed her out west, dressed her in a leopard print get-up one night before she hit the town.\u003c/p>\n\u003cp>“When I came back, he was here,” she says, sitting at the dining table of her Tenderloin studio apartment, her bulldog, Jackson, at her feet. “And I was like, ‘Oh my god, I had so much fun! I want to do it again tomorrow.'”\u003c/p>\n\u003cfigure id=\"attachment_13835558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835558\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A8309-800x533.jpg\" alt=\"Juanita MORE! hosts two monthly parties at Powerhouse: Beatpig and Powerblouse.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juanita MORE! hosts two monthly parties at Powerhouse: Beatpig and Powerblouse. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>MORE! remembers lip-syncing jazz standards at drag bars like Lily’s—the predecessor to Castro piano bar Martuni’s—and dozens more that have since shuttered. Nowadays, she’s more likely to be found at the SoMA leather bar Powerhouse, where she hosts \u003ca href=\"http://juanitamore.com/powerblouse-1/\" target=\"_blank\" rel=\"noopener\">Powerblouse\u003c/a> and her other monthly party, \u003ca href=\"http://juanitamore.com/beatpig/\" target=\"_blank\" rel=\"noopener\">Beatpig\u003c/a>—though her penchant for Sarah Vaughan and Etta James for her numbers has remained the same.\u003c/p>\n\u003cp>Glamamore and Juanita MORE!’s creative partnership runs even deeper than drag mother and daughter. Outside of drag as \u003ca href=\"https://www.jhphrydas.com/mrdavidglamamore/\" target=\"_blank\" rel=\"noopener\">Mr. David\u003c/a>, Glamamore has sewn thousands of custom couture gowns for MORE! over the past three decades. At her apartment, MORE! shows me an elegant, black evening gown speckled with splashes of gold; its sculptural neckline puffs out like a flower in bloom. Heading over to her velvet-curtained closet, she pulls out a pair of tangerine-hued, wide-leg silk pants fit for a ’70s disco queen.\u003c/p>\n\u003cp>“In general, I’ve only worn Mr. David’s clothes, which is really kind of incredible,” she says. In 2016, the De Young Museum hosted a \u003ca href=\"http://sfist.com/2016/05/20/regarding_the_art_and_style_of_mr_d.php#photo-1\" target=\"_blank\" rel=\"noopener\">runway show of Mr. David’s creations\u003c/a>. Most of MORE!’s personal collection is currently in storage, as it’s too big to fit in her modest studio. She has her assistant pull pieces from it for shows. “It’s organized in clear bins by color, so there’s 26 years of red dresses in the ‘red’ bin.”\u003c/p>\n\u003cfigure id=\"attachment_13835556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835556\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A8538-800x533.jpg\" alt=\""Loads of Love" is Juanita MORE!'s motto. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Loads of Love’ is Juanita MORE!’s motto. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As one of the elder members of the House of MORE!, the family of drag performers that Glamamore founded, Juanita MORE! is a mentor figure and friend to dozens of younger queer people. \u003ca href=\"https://www.billboard.com/articles/news/pride/7882234/a-club-called-rhonda-phyllis-navidad-drag-interview\" target=\"_blank\" rel=\"noopener\">Phyllis Navidad\u003c/a> and \u003ca href=\"https://www.facebook.com/dulce.deleche2\" target=\"_blank\" rel=\"noopener\">Dulce De Leche\u003c/a> were some of her first drag daughters, and she’s a drag aunt to \u003ca href=\"https://www.instagram.com/nicki_jizz/\" target=\"_blank\" rel=\"noopener\">Nicki Jizz\u003c/a>, a sex-positive firecracker whose parties intentionally make space for queer and trans people of color in nightlife.\u003c/p>\n\u003cp>That concept of an intergenerational chosen family is important to MORE!—in her art, activism and personally. In lieu of nuclear family structures, chosen families are how many in the LGBTQ community care for one another; a nurturing and support that MORE! clearly evinces.\u003c/p>\n\u003cp>“I really care about queer kids and queer elders,” she says. “Queer kids are gonna be my voice when I can’t speak anymore, and our queer elders have stories and history that needs to be supported. They need to be loved.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Juanita MORE! performs for Pride at SVN West on June 23 and Jones on June 24. Details \u003ca href=\"http://juanitamore.com/pride/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The longtime performer leverages her popularity to campaign for LGBTQ candidates and raise money for queer and trans causes.",
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"title": "Juanita MORE!, Beloved Drag Mother, is Queering San Francisco Politics | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003c/em>The Changing Face of Drag\u003cem> is a five-part KQED Arts series spotlighting innovative performers pushing the boundaries of drag in the Bay Area. Click to read more \u003ca href=\"https://www.kqed.org/arts/series/changing-face-of-drag\" target=\"_blank\" rel=\"noopener\">about the series\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>On the day of the San Francisco mayoral election, \u003ca href=\"http://juanitamore.com\" target=\"_blank\" rel=\"noopener\">Juanita MORE!\u003c/a> couldn’t meet because she had too many places to be.\u003c/p>\n\u003cfigure id=\"attachment_13835563\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835563\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/juanitainfo.jpg\" alt=\"Creo Noveno/KQED\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/juanitainfo.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/juanitainfo-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/juanitainfo-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Creo Noveno/KQED\u003c/figcaption>\u003c/figure>\n\u003cp>In a last-minute campaign effort, she rode around the Castro in a convertible with candidate Mark Leno, her red tassel earrings and cotton candy-shaped wig blowing in the wind. (“My wig stayed on my head, too,” she says.) After hearing Leno speak at Harvey Milk Plaza, she stopped by a campaign party for Rafael Mandelman—a young, gay politician who wore drag at a recent edition of MORE!’s party, Powerblouse—to congratulate him on his win for District 8 supervisor.\u003c/p>\n\u003cp>Drag, an art form that bucks the heteronormative status quo, has been \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\" target=\"_blank\" rel=\"noopener\">a central part of queer resistance\u003c/a> for decades. But MORE!, who’s performed in San Francisco for nearly 30 years, is one of the only drag queens to leverage her popularity to make an impact on mainstream city politics.\u003c/p>\n\u003cfigure id=\"attachment_13835554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835554\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A8506-800x533.jpg\" alt=\"Juanita MORE! leverages her popularity as a drag queen to rally for political causes. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8506.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juanita MORE! leverages her popularity as a drag queen to rally for political causes. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to campaigning for queer candidates and mobilizing the LGBTQ community to vote with her \u003ca href=\"http://juanitamore.com/vote-1/\" target=\"_blank\" rel=\"noopener\">election guides\u003c/a>, MORE! uses her platform to raise money for a variety of causes. Her party Powerblouse (where she and her drag mother, Glamamore, give newbies their first-time drag makeovers) raises money for the \u003ca href=\"https://theqfoundation.org/\" target=\"_blank\" rel=\"noopener\">Q Foundation\u003c/a>, which helps HIV- and AIDS-positive people secure affordable housing. And her wildly popular \u003ca href=\"http://juanitamore.com/pride/\" target=\"_blank\" rel=\"noopener\">Pride celebrations\u003c/a>, taking place at \u003ca href=\"https://www.kqed.org/arts/13835038/former-fillmore-west-to-host-first-event-in-45-years-for-pride-weekend\" target=\"_blank\" rel=\"noopener\">SVN West\u003c/a> and Jones during the June 23–24 Pride weekend, benefit \u003ca href=\"https://transgenderlawcenter.org/programs/truth\" target=\"_blank\" rel=\"noopener\">TRUTH (TRans yoUTH)\u003c/a>, a program from the Transgender Law Center that gives trans young people a safe space to build community and share their struggles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>MORE! specializes in an old-school, Hollywood glamour of big hair, an hourglass figure and flowing couture gowns (think Bette Davis, Celia Cruz and Diana Ross). She says that she didn’t always see her drag as part of a bigger purpose. “Looking back on those early years, I was probably like every other young drag queen who gets born every day,” she says. “You’re just going out all the time; you’re performing wherever for a dime; you’re drinking all night.”\u003c/p>\n\u003cfigure id=\"attachment_13835555\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835555\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A8410-800x1200.jpg\" alt=\"Evening wear is Juanita MORE!'s specialty. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8410.jpg 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evening wear is Juanita MORE!’s specialty. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But as she matured over the course of her career, so did her approach. As a beloved and experienced drag mother and grandmother who’s initiated two generations of performers into the art form, she began to notice that people looked to her for guidance not just on where find the hottest parties with the cutest guys, but on many civic issues, too.\u003c/p>\n\u003cp>“People come to me all the time, especially in the political world, in a way of like, ‘Let’s sit down and talk about this. I wanna share something with you that we need to really think about and figure out and fix it before it really affects our city,'” she says.\u003c/p>\n\u003cp>MORE! was born in Fremont and raised in Hayward, where she remembers passing by five gay bars on the way home from high school. But she didn’t become interested in drag until she was in her 20s and living in New York, immersed in its late-’80s gay club culture. When she returned to San Francisco in 1992, her good friend Glamamore, who followed her out west, dressed her in a leopard print get-up one night before she hit the town.\u003c/p>\n\u003cp>“When I came back, he was here,” she says, sitting at the dining table of her Tenderloin studio apartment, her bulldog, Jackson, at her feet. “And I was like, ‘Oh my god, I had so much fun! I want to do it again tomorrow.'”\u003c/p>\n\u003cfigure id=\"attachment_13835558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835558\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A8309-800x533.jpg\" alt=\"Juanita MORE! hosts two monthly parties at Powerhouse: Beatpig and Powerblouse.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8309.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juanita MORE! hosts two monthly parties at Powerhouse: Beatpig and Powerblouse. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>MORE! remembers lip-syncing jazz standards at drag bars like Lily’s—the predecessor to Castro piano bar Martuni’s—and dozens more that have since shuttered. Nowadays, she’s more likely to be found at the SoMA leather bar Powerhouse, where she hosts \u003ca href=\"http://juanitamore.com/powerblouse-1/\" target=\"_blank\" rel=\"noopener\">Powerblouse\u003c/a> and her other monthly party, \u003ca href=\"http://juanitamore.com/beatpig/\" target=\"_blank\" rel=\"noopener\">Beatpig\u003c/a>—though her penchant for Sarah Vaughan and Etta James for her numbers has remained the same.\u003c/p>\n\u003cp>Glamamore and Juanita MORE!’s creative partnership runs even deeper than drag mother and daughter. Outside of drag as \u003ca href=\"https://www.jhphrydas.com/mrdavidglamamore/\" target=\"_blank\" rel=\"noopener\">Mr. David\u003c/a>, Glamamore has sewn thousands of custom couture gowns for MORE! over the past three decades. At her apartment, MORE! shows me an elegant, black evening gown speckled with splashes of gold; its sculptural neckline puffs out like a flower in bloom. Heading over to her velvet-curtained closet, she pulls out a pair of tangerine-hued, wide-leg silk pants fit for a ’70s disco queen.\u003c/p>\n\u003cp>“In general, I’ve only worn Mr. David’s clothes, which is really kind of incredible,” she says. In 2016, the De Young Museum hosted a \u003ca href=\"http://sfist.com/2016/05/20/regarding_the_art_and_style_of_mr_d.php#photo-1\" target=\"_blank\" rel=\"noopener\">runway show of Mr. David’s creations\u003c/a>. Most of MORE!’s personal collection is currently in storage, as it’s too big to fit in her modest studio. She has her assistant pull pieces from it for shows. “It’s organized in clear bins by color, so there’s 26 years of red dresses in the ‘red’ bin.”\u003c/p>\n\u003cfigure id=\"attachment_13835556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835556\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/303A8538-800x533.jpg\" alt=\""Loads of Love" is Juanita MORE!'s motto. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/303A8538.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Loads of Love’ is Juanita MORE!’s motto. \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As one of the elder members of the House of MORE!, the family of drag performers that Glamamore founded, Juanita MORE! is a mentor figure and friend to dozens of younger queer people. \u003ca href=\"https://www.billboard.com/articles/news/pride/7882234/a-club-called-rhonda-phyllis-navidad-drag-interview\" target=\"_blank\" rel=\"noopener\">Phyllis Navidad\u003c/a> and \u003ca href=\"https://www.facebook.com/dulce.deleche2\" target=\"_blank\" rel=\"noopener\">Dulce De Leche\u003c/a> were some of her first drag daughters, and she’s a drag aunt to \u003ca href=\"https://www.instagram.com/nicki_jizz/\" target=\"_blank\" rel=\"noopener\">Nicki Jizz\u003c/a>, a sex-positive firecracker whose parties intentionally make space for queer and trans people of color in nightlife.\u003c/p>\n\u003cp>That concept of an intergenerational chosen family is important to MORE!—in her art, activism and personally. In lieu of nuclear family structures, chosen families are how many in the LGBTQ community care for one another; a nurturing and support that MORE! clearly evinces.\u003c/p>\n\u003cp>“I really care about queer kids and queer elders,” she says. “Queer kids are gonna be my voice when I can’t speak anymore, and our queer elders have stories and history that needs to be supported. They need to be loved.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Juanita MORE! performs for Pride at SVN West on June 23 and Jones on June 24. Details \u003ca href=\"http://juanitamore.com/pride/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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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"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": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"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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"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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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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