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"slug": "historic-lesbian-bars-san-francisco-mauds-pegs-front-anns-monas-440-tommy-vasu",
"title": "5 Historic San Francisco Lesbian Bars We Wish Still Existed",
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"content": "\u003cfigure id=\"attachment_13930420\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930420\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-800x630.jpg\" alt=\"Three women sit on the laps of three other women, each of whom are dressed in masculine suits and hats.\" width=\"800\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-800x630.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-1020x803.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-768x604.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-1536x1209.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A glorious gathering of lesbians, circa 1910. \u003ccite>(Kirn Vintage Stock/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back in March, thanks to my ongoing obsession with the city’s dives, I decided to compile a list of \u003ca href=\"https://www.kqed.org/arts/13927137/san-francisco-bars-monas-440-cobweb-palace-chinese-pagoda-elite-varieties\">five supremely entertaining bars from San Francisco history\u003c/a>. I found some gems in the archives — a spider-filled tavern in North Beach and a lawless basement bar on the edge of Chinatown, among them.\u003c/p>\n\u003cp>In the course of that research I also discovered Mona’s 440 Club — a bar for lesbians, crossdressers and genderfluid folks that was active in the 1940s. Finding a place “where girls [could] be boys” from that era prompted me to wonder: How many other fantastic little lesbian venues existed in Bay Area history that few of us know anything about today?\u003c/p>\n\u003cp>Here are five that are particularly noteworthy.\u003c/p>\n\u003ch2>Ann’s 440 Club\u003c/h2>\n\u003cfigure id=\"attachment_13930367\" class=\"wp-caption alignright\" style=\"max-width: 618px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930367\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-3.21.42-PM.png\" alt=\"A newspaper ad for 'Miss Wiggles — the Marvel in Motion’ performing at Ann's 440 Club.\" width=\"618\" height=\"784\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-3.21.42-PM.png 618w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-3.21.42-PM-160x203.png 160w\" sizes=\"auto, (max-width: 618px) 100vw, 618px\">\u003cfigcaption class=\"wp-caption-text\">A newspaper ad for Ann’s 440 Club, as seen in ‘The San Francisco Examiner’ on April 30, 1960. \u003ccite>(The San Francisco Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the early 1950s, when Mona’s 440 Club was sold by Mona and Jimmie Sargeant to Ann Dee she, rather naturally, renamed it Ann’s. Dee understood that her core audience should remain genderfluid lesbians and she catered to them with exotic performers like Miss Wiggles, Carol “the Dangerous Curver” Hill and “Cuban bombshell” Delia Martine. In a departure from Mona’s, however, Dee also opened up the in-house entertainment to include more male musicians and comedians — Lenny Bruce and Johnny Mathis among them.\u003c/p>\n\u003cp>Ann’s carefully curated choice of entertainers often prompted local critics to attend. In 1953, \u003cem>The San Francisco Examiner\u003c/em> praised an “Original Pantomime” show that was quite obviously a drag performance of sorts. “In a nutshell, it’s group pantomiming of Broadway hit musicals … go[ing] through the motions of the play, the songs and the dances, in a clever, sparkling and original way.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mona’s had established a safe nightclub space for lesbians in San Francisco throughout the 1940s, but it was Ann’s that helped bring sapphic culture to mainstream city nightlife.\u003c/p>\n\u003ch2>The Front\u003c/h2>\n\u003cfigure id=\"attachment_13930419\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930419\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/front-800x507.jpg\" alt=\"Two women dance together in a nightclub. Other women mill around in the background.\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-768x487.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-1536x973.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-1920x1217.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front.jpg 1976w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">No photos of The Front exist today. But we imagine it a little something like this… \u003ccite>(GENNA MARTIN/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The legacy that The Front’s owner Charlotte Coleman left on LGBTQ+ nightlife in San Francisco is immense — and it only happened because homophobia pushed her out of her day job at the IRS. Forced to resign after her employer discovered she was a lesbian, Coleman took her retirement savings — and a cue from her father, a Prohibition-era rum-runner — and went into the bar trade.\u003c/p>\n\u003cp>[aside postid='arts_13911589']Coleman bought The Blind Mouse in 1958 — a gay restaurant at 600 Front St. — and renamed it The Front. The bar had a stage and a piano, and was known for its drag shows (featuring both male and female impersonators). Coleman opened the bar in a relatively deserted part of town specifically with the goal of avoiding police harassment. Sadly, the location didn’t help. Coleman got slapped with multiple morals charges, lost her license and was forced to close The Front in 1962.\u003c/p>\n\u003cp>Coleman went on to open nine other gay venues around the city — including still-beloved bars like Twin Peaks and \u003ca href=\"https://www.kqed.org/arts/13911589/sfmoma-soapbox-derby-san-francisco-wacky-races-pops-mint-parkside-tricycle-mclaren-park\">The Mint\u003c/a> — and became known for her charitable fundraising for LGBTQ+ causes, as well as her work with the \u003ca href=\"https://en.wikipedia.org/wiki/Tavern_Guild\">Tavern Guild\u003c/a>. The Front, however, would be her last lesbian venue.\u003c/p>\n\u003cp>“The women got into so many fights, pulling hair and dumping beers over each other!” she once explained. “I always was in the middle trying to break things up. And I really didn’t make any money either, so I decided that was a lot of fun, but I couldn’t make a living.”\u003c/p>\n\u003ch2>Tommy’s Joint/ 12 Adler Place\u003c/h2>\n\u003cfigure id=\"attachment_13930430\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930430\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-800x600.jpg\" alt=\"A courtyard containing a bar with a fire escape and apartments above. A sign reads ‘12 Adler Museum.’\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Specs’ in North Beach was once a lesbian bar known as 12 Adler Place. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1948, inside a four-story brick building at 299 Broadway, San Francisco acquired its first queer bar opened by an out lesbian.\u003c/p>\n\u003cp>The owner went by the name Tommy Vasu; Vasu had dressed in masculine attire since the age of 12. Despite once being described by Herb Caen as “a gentleman among ladies,” Vasu was known to be involved in organized crime and often associated with sex workers. (The 299 Club operated on the two bottom floors of the bar’s address. The top two acted as a hotel known to be a venue for prostitution.)\u003c/p>\n\u003cp>[aside postid='arts_13927137']“Anything you wanted, Tommy could get it for you,” historian \u003ca href=\"http://www.elisarolle.com/queerplaces/ch-d-e/Eleanor%20Vasu.html\">Pat Bond once said\u003c/a>. “You wanted a watch, she’d bring out 40 watches. She liked being a gangster.”\u003c/p>\n\u003cp>Four years into successful operation, the 299 Club moved to 529 Broadway (today’s \u003ca href=\"https://www.yelp.com/biz/garden-of-eden-san-francisco?osq=garden+of+eden\">Garden of Eden\u003c/a> strip club) and was renamed Tommy’s Joint. Tommy’s was a popular venue with live entertainment. It also backed directly onto a lively lesbian bar known as 12 Adler Place, also owned by Vasu.\u003c/p>\n\u003cp>Vasu’s North Beach success was short-lived. Vice squad officers closed the adjoining bars down after just two years, revoking Vasu’s license and landing one of the venue’s bartenders in jail for allegedly serving minors. It was a major local scandal at the time, milked in the media to scaremonger about the corrupting nature of homosexuality on youth. (\u003cem>The Examiner\u003c/em> referred to 12 Adler as a “sex thrill bar.”)\u003c/p>\n\u003cp>Today, \u003ca href=\"https://www.specsbarsf.com/\">Specs’\u003c/a> pays tribute to its former incarnation with a sign in its doorway that reads “12 Adler Museum.” Sadly, zero ephemera from the original Tommy’s Joint or 12 Adler Place remains in Specs’ today. Still not quite as sad as the ending that Vasu got, however — the former bar owner was murdered in 1978, four years after serving time for dealing heroin.\u003c/p>\n\u003ch2>Peg’s Place\u003c/h2>\n\u003cfigure id=\"attachment_13930424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-800x565.jpg\" alt=\"An art deco illustration of a kiss between two women. The first, smoking, sensual and in underwear lying on a bed. The second is dressed smartly in red dress and hat.\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-1536x1084.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When Peg’s Place first opened, it was known for its air of refinement. (Illustration by Leon Bonnotte from ‘Le Sourire.’ Paris, France, 1925.) \u003ccite>(Fototeca Gilardi/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peg’s Place forged a reputation in its early years for being a refined bar where patrons weren’t even permitted to wear jeans. (Pants were okay.) \u003cem>The San Francisco Examiner\u003c/em> once described the joint at 4737 Geary as a “small bar with Norman-style stone arches, pool table, dance floor and open fire,” and “a cozy haven from the claimed harassments of the straight world.”\u003c/p>\n\u003cp>“I think they wanted you to be — maybe they call it classy,” a regular named Jackie later recalled. “They didn’t want to think they catered to bums or truck-driver types.”\u003c/p>\n\u003cp>[aside postid='arts_13930106']While in its earliest days, dancing at Peg’s wasn’t permitted because of anti-LGBTQ+ laws, the bar rules relaxed as police monitoring did. A regular named Virginia Benavides remembered a lively scene at Peg’s by the 1980s. “There was dancing, with a DJ, and the crowd was mostly white women and Black women,” she said. “I loved the energy.”\u003c/p>\n\u003cp>Owner Linda Symaco was a Filipina who first moved to the city in 1965 — and she was fierce. When the bar was attacked by a bachelor party of angry men — two of whom were off-duty cops — late one night in March 1979, Symaco relentlessly pursued justice. She, along with bouncer Arlene Levine and a customer named Kathryn Miller filed a lawsuit against three of the men in question, the city and the SFPD. Even while dealing with harassing phone calls and bomb threats to Peg’s Place, Symaco remained undeterred.\u003c/p>\n\u003cp>In the end, one of the police officers was convicted of battery and he and another man were also convicted of disturbing the peace. It took until 1985 for the San Francisco Police Commission to pay the three women $75,000 in damages.\u003c/p>\n\u003cp>Even for those who frequented Peg’s Place, it all feels like ancient history now. Today, what’s left of Peg’s is a Chinese restaurant named Dong Bei Mama.\u003c/p>\n\u003ch2>Maud’s\u003c/h2>\n\u003cfigure id=\"attachment_13930417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/mauds-800x530.png\" alt=\"A woman with cropped short hair smiles broadly as she embraces a taller woman from behind. Another pair of women embrace in the background.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-2048x1357.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-1920x1272.png 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrons of Maud’s, living it up in the Haight in the ’80s. \u003ccite>(‘Last Call at Maud’s.’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nowadays, you might know it as Finnegan’s Wake, but between April 1966 and September 1989, 937 Cole St. was Maud’s, the Haight’s greatest ever lesbian bar. The owner was Rikki Streicher, a self-confessed “bar person” who wanted women who loved women to have a safe space to make connections and community together.\u003c/p>\n\u003cp>“I’ve always felt that bars were the most honest, open, free place that women could go,” Streicher said in 1993 documentary \u003ca href=\"https://www.imdb.com/title/tt0107366/?ref_=fn_al_tt_1\">\u003cem>Last Call at Maud’s\u003c/em>\u003c/a>. “So when I made this bar, I wanted it to be a composite of probably all the bars that I’ve gone to and all of the good things I’ve found in each of those bars.”\u003c/p>\n\u003cp>The wood-paneled venue was equipped with pinball and a pool table inside, a ping-pong table in the yard and — because women couldn’t legally bartend in California until 1971 (!) — a variety of men pouring the drinks (at least in the early days). Originally named The Study, it morphed into Maud’s Study, then finally just Maud’s.\u003c/p>\n\u003cp>[aside postid='arts_13930349']As late as the mid-1970s, patrons and staff were under such scrutiny that Streicher had to install an alarm to warn customers when cops were approaching. If any of the women were caught dancing or touching, there would almost certainly be legal consequences. So a red light would flash on, a short noise would sound and the women knew exactly what to do.\u003c/p>\n\u003cp>“You know, it really looks strange for anyone to walk into this bar,” one customer later recalled, “and there’s 200 dykes standing in the middle of the floor all looking at each other, not doing anything.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In its earliest years, the bar was overrun with gay hippies thanks to its proximity to Haight-Ashbury. (Even Janis Joplin stopped by once in a while.) Into the ’70s and ’80s, there were variety shows and performances. Annual (raucous) anniversary parties were held, a bar softball team was formed and many relationships and affairs forged. Maud’s most important asset, however, was its customers. The bar fostered and nurtured an incredibly tight community of gay women. Its final closing was indeed a sad one — a fact surely true of every bygone watering hole on this list.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13930420\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930420\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-800x630.jpg\" alt=\"Three women sit on the laps of three other women, each of whom are dressed in masculine suits and hats.\" width=\"800\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-800x630.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-1020x803.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-768x604.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-1536x1209.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A glorious gathering of lesbians, circa 1910. \u003ccite>(Kirn Vintage Stock/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back in March, thanks to my ongoing obsession with the city’s dives, I decided to compile a list of \u003ca href=\"https://www.kqed.org/arts/13927137/san-francisco-bars-monas-440-cobweb-palace-chinese-pagoda-elite-varieties\">five supremely entertaining bars from San Francisco history\u003c/a>. I found some gems in the archives — a spider-filled tavern in North Beach and a lawless basement bar on the edge of Chinatown, among them.\u003c/p>\n\u003cp>In the course of that research I also discovered Mona’s 440 Club — a bar for lesbians, crossdressers and genderfluid folks that was active in the 1940s. Finding a place “where girls [could] be boys” from that era prompted me to wonder: How many other fantastic little lesbian venues existed in Bay Area history that few of us know anything about today?\u003c/p>\n\u003cp>Here are five that are particularly noteworthy.\u003c/p>\n\u003ch2>Ann’s 440 Club\u003c/h2>\n\u003cfigure id=\"attachment_13930367\" class=\"wp-caption alignright\" style=\"max-width: 618px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930367\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-3.21.42-PM.png\" alt=\"A newspaper ad for 'Miss Wiggles — the Marvel in Motion’ performing at Ann's 440 Club.\" width=\"618\" height=\"784\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-3.21.42-PM.png 618w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-3.21.42-PM-160x203.png 160w\" sizes=\"auto, (max-width: 618px) 100vw, 618px\">\u003cfigcaption class=\"wp-caption-text\">A newspaper ad for Ann’s 440 Club, as seen in ‘The San Francisco Examiner’ on April 30, 1960. \u003ccite>(The San Francisco Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the early 1950s, when Mona’s 440 Club was sold by Mona and Jimmie Sargeant to Ann Dee she, rather naturally, renamed it Ann’s. Dee understood that her core audience should remain genderfluid lesbians and she catered to them with exotic performers like Miss Wiggles, Carol “the Dangerous Curver” Hill and “Cuban bombshell” Delia Martine. In a departure from Mona’s, however, Dee also opened up the in-house entertainment to include more male musicians and comedians — Lenny Bruce and Johnny Mathis among them.\u003c/p>\n\u003cp>Ann’s carefully curated choice of entertainers often prompted local critics to attend. In 1953, \u003cem>The San Francisco Examiner\u003c/em> praised an “Original Pantomime” show that was quite obviously a drag performance of sorts. “In a nutshell, it’s group pantomiming of Broadway hit musicals … go[ing] through the motions of the play, the songs and the dances, in a clever, sparkling and original way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mona’s had established a safe nightclub space for lesbians in San Francisco throughout the 1940s, but it was Ann’s that helped bring sapphic culture to mainstream city nightlife.\u003c/p>\n\u003ch2>The Front\u003c/h2>\n\u003cfigure id=\"attachment_13930419\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930419\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/front-800x507.jpg\" alt=\"Two women dance together in a nightclub. Other women mill around in the background.\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-768x487.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-1536x973.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-1920x1217.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front.jpg 1976w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">No photos of The Front exist today. But we imagine it a little something like this… \u003ccite>(GENNA MARTIN/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The legacy that The Front’s owner Charlotte Coleman left on LGBTQ+ nightlife in San Francisco is immense — and it only happened because homophobia pushed her out of her day job at the IRS. Forced to resign after her employer discovered she was a lesbian, Coleman took her retirement savings — and a cue from her father, a Prohibition-era rum-runner — and went into the bar trade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Coleman bought The Blind Mouse in 1958 — a gay restaurant at 600 Front St. — and renamed it The Front. The bar had a stage and a piano, and was known for its drag shows (featuring both male and female impersonators). Coleman opened the bar in a relatively deserted part of town specifically with the goal of avoiding police harassment. Sadly, the location didn’t help. Coleman got slapped with multiple morals charges, lost her license and was forced to close The Front in 1962.\u003c/p>\n\u003cp>Coleman went on to open nine other gay venues around the city — including still-beloved bars like Twin Peaks and \u003ca href=\"https://www.kqed.org/arts/13911589/sfmoma-soapbox-derby-san-francisco-wacky-races-pops-mint-parkside-tricycle-mclaren-park\">The Mint\u003c/a> — and became known for her charitable fundraising for LGBTQ+ causes, as well as her work with the \u003ca href=\"https://en.wikipedia.org/wiki/Tavern_Guild\">Tavern Guild\u003c/a>. The Front, however, would be her last lesbian venue.\u003c/p>\n\u003cp>“The women got into so many fights, pulling hair and dumping beers over each other!” she once explained. “I always was in the middle trying to break things up. And I really didn’t make any money either, so I decided that was a lot of fun, but I couldn’t make a living.”\u003c/p>\n\u003ch2>Tommy’s Joint/ 12 Adler Place\u003c/h2>\n\u003cfigure id=\"attachment_13930430\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930430\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-800x600.jpg\" alt=\"A courtyard containing a bar with a fire escape and apartments above. A sign reads ‘12 Adler Museum.’\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Specs’ in North Beach was once a lesbian bar known as 12 Adler Place. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1948, inside a four-story brick building at 299 Broadway, San Francisco acquired its first queer bar opened by an out lesbian.\u003c/p>\n\u003cp>The owner went by the name Tommy Vasu; Vasu had dressed in masculine attire since the age of 12. Despite once being described by Herb Caen as “a gentleman among ladies,” Vasu was known to be involved in organized crime and often associated with sex workers. (The 299 Club operated on the two bottom floors of the bar’s address. The top two acted as a hotel known to be a venue for prostitution.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Anything you wanted, Tommy could get it for you,” historian \u003ca href=\"http://www.elisarolle.com/queerplaces/ch-d-e/Eleanor%20Vasu.html\">Pat Bond once said\u003c/a>. “You wanted a watch, she’d bring out 40 watches. She liked being a gangster.”\u003c/p>\n\u003cp>Four years into successful operation, the 299 Club moved to 529 Broadway (today’s \u003ca href=\"https://www.yelp.com/biz/garden-of-eden-san-francisco?osq=garden+of+eden\">Garden of Eden\u003c/a> strip club) and was renamed Tommy’s Joint. Tommy’s was a popular venue with live entertainment. It also backed directly onto a lively lesbian bar known as 12 Adler Place, also owned by Vasu.\u003c/p>\n\u003cp>Vasu’s North Beach success was short-lived. Vice squad officers closed the adjoining bars down after just two years, revoking Vasu’s license and landing one of the venue’s bartenders in jail for allegedly serving minors. It was a major local scandal at the time, milked in the media to scaremonger about the corrupting nature of homosexuality on youth. (\u003cem>The Examiner\u003c/em> referred to 12 Adler as a “sex thrill bar.”)\u003c/p>\n\u003cp>Today, \u003ca href=\"https://www.specsbarsf.com/\">Specs’\u003c/a> pays tribute to its former incarnation with a sign in its doorway that reads “12 Adler Museum.” Sadly, zero ephemera from the original Tommy’s Joint or 12 Adler Place remains in Specs’ today. Still not quite as sad as the ending that Vasu got, however — the former bar owner was murdered in 1978, four years after serving time for dealing heroin.\u003c/p>\n\u003ch2>Peg’s Place\u003c/h2>\n\u003cfigure id=\"attachment_13930424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-800x565.jpg\" alt=\"An art deco illustration of a kiss between two women. The first, smoking, sensual and in underwear lying on a bed. The second is dressed smartly in red dress and hat.\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-1536x1084.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When Peg’s Place first opened, it was known for its air of refinement. (Illustration by Leon Bonnotte from ‘Le Sourire.’ Paris, France, 1925.) \u003ccite>(Fototeca Gilardi/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peg’s Place forged a reputation in its early years for being a refined bar where patrons weren’t even permitted to wear jeans. (Pants were okay.) \u003cem>The San Francisco Examiner\u003c/em> once described the joint at 4737 Geary as a “small bar with Norman-style stone arches, pool table, dance floor and open fire,” and “a cozy haven from the claimed harassments of the straight world.”\u003c/p>\n\u003cp>“I think they wanted you to be — maybe they call it classy,” a regular named Jackie later recalled. “They didn’t want to think they catered to bums or truck-driver types.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While in its earliest days, dancing at Peg’s wasn’t permitted because of anti-LGBTQ+ laws, the bar rules relaxed as police monitoring did. A regular named Virginia Benavides remembered a lively scene at Peg’s by the 1980s. “There was dancing, with a DJ, and the crowd was mostly white women and Black women,” she said. “I loved the energy.”\u003c/p>\n\u003cp>Owner Linda Symaco was a Filipina who first moved to the city in 1965 — and she was fierce. When the bar was attacked by a bachelor party of angry men — two of whom were off-duty cops — late one night in March 1979, Symaco relentlessly pursued justice. She, along with bouncer Arlene Levine and a customer named Kathryn Miller filed a lawsuit against three of the men in question, the city and the SFPD. Even while dealing with harassing phone calls and bomb threats to Peg’s Place, Symaco remained undeterred.\u003c/p>\n\u003cp>In the end, one of the police officers was convicted of battery and he and another man were also convicted of disturbing the peace. It took until 1985 for the San Francisco Police Commission to pay the three women $75,000 in damages.\u003c/p>\n\u003cp>Even for those who frequented Peg’s Place, it all feels like ancient history now. Today, what’s left of Peg’s is a Chinese restaurant named Dong Bei Mama.\u003c/p>\n\u003ch2>Maud’s\u003c/h2>\n\u003cfigure id=\"attachment_13930417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/mauds-800x530.png\" alt=\"A woman with cropped short hair smiles broadly as she embraces a taller woman from behind. Another pair of women embrace in the background.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-2048x1357.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-1920x1272.png 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrons of Maud’s, living it up in the Haight in the ’80s. \u003ccite>(‘Last Call at Maud’s.’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nowadays, you might know it as Finnegan’s Wake, but between April 1966 and September 1989, 937 Cole St. was Maud’s, the Haight’s greatest ever lesbian bar. The owner was Rikki Streicher, a self-confessed “bar person” who wanted women who loved women to have a safe space to make connections and community together.\u003c/p>\n\u003cp>“I’ve always felt that bars were the most honest, open, free place that women could go,” Streicher said in 1993 documentary \u003ca href=\"https://www.imdb.com/title/tt0107366/?ref_=fn_al_tt_1\">\u003cem>Last Call at Maud’s\u003c/em>\u003c/a>. “So when I made this bar, I wanted it to be a composite of probably all the bars that I’ve gone to and all of the good things I’ve found in each of those bars.”\u003c/p>\n\u003cp>The wood-paneled venue was equipped with pinball and a pool table inside, a ping-pong table in the yard and — because women couldn’t legally bartend in California until 1971 (!) — a variety of men pouring the drinks (at least in the early days). Originally named The Study, it morphed into Maud’s Study, then finally just Maud’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As late as the mid-1970s, patrons and staff were under such scrutiny that Streicher had to install an alarm to warn customers when cops were approaching. If any of the women were caught dancing or touching, there would almost certainly be legal consequences. So a red light would flash on, a short noise would sound and the women knew exactly what to do.\u003c/p>\n\u003cp>“You know, it really looks strange for anyone to walk into this bar,” one customer later recalled, “and there’s 200 dykes standing in the middle of the floor all looking at each other, not doing anything.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In its earliest years, the bar was overrun with gay hippies thanks to its proximity to Haight-Ashbury. (Even Janis Joplin stopped by once in a while.) Into the ’70s and ’80s, there were variety shows and performances. Annual (raucous) anniversary parties were held, a bar softball team was formed and many relationships and affairs forged. Maud’s most important asset, however, was its customers. The bar fostered and nurtured an incredibly tight community of gay women. Its final closing was indeed a sad one — a fact surely true of every bygone watering hole on this list.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Update, May 23, 2023: \u003c/strong>After public outcry, on May 22 the \u003ca href=\"https://www.latimes.com/sports/story/2023-05-22/dodgers-apologize-invite-sisters-perpetual-indulgence-pride-night\">Dodgers apologized and re-invited\u003c/a> the Sisters of Perpetual Indulgence to their June 11 Pride Night. “This is a true testament to the power of truth over lies, knowledge over ignorance, and love over hate,” \u003ca href=\"https://www.instagram.com/p/CskkvQFuEWL/?hl=en\">Sister Roma wrote on Instagram\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original story:\u003c/strong>\u003c/p>\n\u003cp>On Wednesday, the Los Angeles Dodgers \u003ca href=\"https://twitter.com/Dodgers/status/1658908923213262848/photo/1\">posted an announcement\u003c/a> about the \u003ca href=\"https://www.thesisters.org/\">Sisters of Perpetual Indulgence\u003c/a> that almost read like satire. After outcry from the Catholic League and Sen. Marco Rubio — who \u003ca href=\"https://www.rubio.senate.gov/public/index.cfm/2023/5/rubio-to-mlb-dodgers-aren-t-inclusive-and-welcoming-to-christians\">called the Sisters an “anti-Catholic group” in a letter\u003c/a> to Major League Baseball Commissioner Rob Manfred — the Dodgers were formally disinviting the Sisters from their 10th annual Pride Night, and rescinding a Community Hero Award to the group due to “the strong feelings of people who have been offended.”\u003c/p>\n\u003cp>Backlash from the Sisters and their many supporters was immediate, especially given the rising tide of anti-LGBTQ+ legislation, and the \u003ca href=\"https://www.kqed.org/arts/13927432/drag-up-fight-back-protest-san-francisco-trans-lgbtq\">criminalization of drag performance\u003c/a> in red states. Sister Roma, one of the more prominent San Francisco nuns, spoke with KQED’s Juan Carlos Lara about this fraught moment for LGBTQ+ rights and what queer people, trans people and allies can do to fight back. \u003cem>— Nastia Voynovskaya \u003c/em>[aside postid='news_11946030']\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity\u003c/i>.\u003c/p>\n\u003cp>\u003cb>Juan Carlos Lara: \u003c/b>What was your initial reaction to the news that the Dodgers were rescinding their invitation and award to the Sisters’ LA chapter?\u003c/p>\n\u003cp>\u003cstrong>Sister Roma:\u003c/strong> I was completely shocked and disappointed. The Dodgers had made such a great decision to recognize a time-tested, honored and beloved queer organization that started here in San Francisco in 1979. And then for them to so quickly cave to the far-rightwing extremists, the pseudo-Christian websites and people on Twitter who basically just weaponized their religion as a way to practice discrimination, oppression and hate.\u003c/p>\n\u003cp>They literally caved in to Marco Rubio, of all people, in Florida — which, I mean, let’s be honest, Florida is pretty much \u003ca href=\"https://www.scientificamerican.com/article/fascisms-history-offers-lessons-about-todays-attacks-on-education/\">turning into a fascist state\u003c/a>. He had to stick his nose in it and protest. It was just ridiculous how quickly it blew up. People who don’t understand who the Sisters are complained to the Dodgers. And they caved in.\u003c/p>\n\u003cfigure id=\"attachment_13929356\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929356\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/D7A7432-1020x680-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/D7A7432-1020x680-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/D7A7432-1020x680-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/D7A7432-1020x680-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/D7A7432-1020x680-1.jpg 1020w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left, Alex U. Inn, Juanita MORE!, Sister Roma and Honey Mahogany speak at the ‘Drag Up! Fight Back!’ rally at Union Square in San Francisco on Saturday, April 8, 2023. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you think is at the core of this backlash? And what do you think the right is getting wrong about the Sisters of Perpetual Indulgence?\u003c/b>\u003c/p>\n\u003cp>Luckily here in San Francisco, most people are familiar with the Sisters. Since our inception, the Sisters have been leaders and protectors of the queer community, but also all civil rights. We have always stood for women, people of color, the trans community. You’ll see us out on the holidays feeding hungry, unhoused people. You’ll see us sitting and ministering with the sick and hospices. We support queer art. We donate 95% of the hundreds of thousands of dollars that we raise directly back to the community. We are pretty well recognized here, and we have orders all over the world, and sisters in their communities are becoming well known.\u003c/p>\n\u003cp>I would have thought that Los Angeles — it’s supposed to be a strong, liberal part of our blue state. And for those people to have such knee-jerk reactions — they see the name, they see the makeup. Immediately, people jump on the bandwagon that we’re mocking nuns, we’re making fun of Catholics or mocking religion, and we’re mocking God. None of that is true. We really are nuns. We do the work of nuns.\u003c/p>\n\u003cp>The things that the sisters have an issue with is people who take the scripture and choose to interpret it in a way to discriminate against people who they disagree with and don’t like. Basically, a drag queen, a queer person, a trans person — they are weaponizing their religion against us, and they’re taking their personal beliefs to the polls. And as we can see across Florida, Tennessee, Texas, they’re \u003ca href=\"https://www.aclu.org/legislative-attacks-on-lgbtq-rights\">passing legislation\u003c/a> that is basically outlawing and criminalizing queer people, trans people and drag queens. Those are the people that the Dodgers decided to listen to. It’s insane.\u003c/p>\n\u003cfigure id=\"attachment_13929359\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929359\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1323156398-800x517.jpg\" alt=\"A man with a spiked, rainbow beard wears Dodgers gear. \" width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1323156398-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1323156398-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1323156398-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1323156398-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1323156398.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Carta celebrates LGBTQ+ Pride Night hosted by LA Pride and the Dodgers at Dodger Stadium on June 11, 2021 in Los Angeles, California. \u003ccite>( Jerritt Clark/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Given the backlash, do you think queer and trans people benefit from events like the LA Dodgers’ Pride Night? What do you think is the the significance of these events?\u003cb>\u003c/b>\u003c/b>\u003c/p>\n\u003cp>Oh, it’s impossible to underestimate the importance of high-profile Pride events. To be honest with you, some of our community has become very complacent. There’s even a little bit of a snide attitude towards Pride because we’ve become so used to the fact that we’ve had Pride in San Francisco for, like, 50 years. People really take it for granted.\u003c/p>\n\u003cp>Yes, there may be corporatization of Pride, there may be a lot of pink-washing. People stick a rainbow on their product. That is true. But it can also be true at the same time that we have huge, large public gatherings where we celebrate our uniqueness, our queerness, our transness, where we come together as a community, we show the world that we’re not the awful things that they’re using to describe us. We’re not all sick and dying of AIDS. We’re not all perverts, we’re not all groomers. None of that is true. We are a beautiful, vibrant, colorful community. We’re filled with love. We’re proud of who we are. We’re proud of the accomplishments we’ve made. And it’s really important for the Dodgers to recognize and celebrate the queer community, a lot of whom are Dodgers fans. This is very hurtful to so many people, including the Sisters in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_13929360\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929360\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1323156225-800x526.jpg\" alt=\"\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1323156225-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1323156225-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1323156225-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1323156225-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1323156225.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dodgers fans celebrate LGBTQ+ Pride Night hosted by LA Pride and the Dodgers at Dodger Stadium on June 11, 2021 in Los Angeles, California. \u003ccite>(Jerritt Clark/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The situation brings to mind the \u003ca href=\"https://www.nytimes.com/2023/04/25/business/bud-light-dylan-mulvaney.html\">recent backlash against Bud Light\u003c/a> after their ad featured a trans person, Dylan Mulvaney. After all of this backlash came in, Bud Light didn’t stand behind Mulvaney. Like you said, there’s a lot of benefit from having these very public celebrations, but do you think there’s harm when these groups reel back in response to backlash?\u003c/b>\u003c/p>\n\u003cp>We like to believe that the majority of Americans honestly at their core feel the same way we do. We believe in civil rights. We believe all people are created equal. And when we start to see companies like Bud Light and the LA Dodgers respond to that kind of hate, it’s a real red flag. While we think they’re the minority, they’re obviously in power and they’re having an impact with very real and dangerous results.\u003c/p>\n\u003cp>When some organization like the Dodgers extends this fabulous invitation and then disinvites the Sisters, that shows that there is a real lack of true understanding, first of all, of who the Sisters are. It makes it feel disingenuous.\u003c/p>\n\u003cp>So what is their motivation? The Dodgers have been doing this for 10 years. Luckily, here in San Francisco, the Giants have been doing projects since the ’90s, and I have talked to the Giants and I know for a fact that the Giants are 1000% committed to continuing their Pride Night celebration. And we’re planning something very special to celebrate and remember Heklina, one of our drag icons we lost this year. [aside postid='arts_13927233']\u003c/p>\n\u003cp>\u003cb>Some groups like the \u003ca href=\"https://lalgbtcenter.org/about-the-center/press-releases/statement-the-los-angeles-lgbt-center-removes-itself-from-the-dodgers-pride-night-following-the-exclusion-of-the-sisters-of-perpetual-indulgence\">LA LGBT Center\u003c/a> and an \u003ca href=\"https://www.latimes.com/sports/dodgers/story/2023-05-17/dodgers-wont-honor-sisters-perpetual-indulgence-lgbtq-pride-night\">LA County Supervisor\u003c/a> have already said that they’re not planning to attend Pride Night anymore, given the Dodgers recent decision. Are you hoping that other groups follow suit? What are you hoping happens to their Pride Night right now?\u003c/b>\u003c/p>\n\u003cp>Honestly, we need more people to step up and speak out. I’ve seen a lot of people talking about, “Should I sell my ticket? I’m not going. No one should go.” And I do also understand the people who want to celebrate this night because they see it as a victory for our community, regardless.\u003c/p>\n\u003cp>I can’t tell anybody what to do. But definitely let your voices be heard. If you support the Sisters and you think the Dodgers, as much as you love them, have made a mistake, let them know. Perhaps something could even happen at the game. Maybe people should dress up in nun drag and put on some wild makeup and some wigs, and they should have a whole cheering section. That would be amazing. We’ll see. [ad fullwidth]\u003c/p>\n\u003cp>\u003cb>What do you think people who identify as queer, and people who hope to be allies, should be doing to combat this rise in hate?\u003c/b>\u003c/p>\n\u003cp>Well, it’s really important to actually step back and see what their true motivation is, and the truth behind these lies. You have to understand who the queer community is, who the trans community is. And if you’re a true ally, which we need now more than ever, learn how to talk about the truth. Because there’s a lot of mistruths.\u003c/p>\n\u003cp>People are using words to describe trans and queer people and drag queens today like “groomer” and “pedophile,” and immediately they’re othering us. They’re dehumanizing us. They’re making it us versus them. And they are trying to criminalize us. And the end result is, once you’re not a human and you’re a criminal, they can exterminate us. There is really a larger plan here — and I’m not trying to be sensationalist — to actually eradicate queer and trans people. We’ve seen it happen in other countries around the world. It’s happening here. There’s a very fascist movement.\u003c/p>\n\u003cp>Look, they overturned Roe v. Wade. Every woman in this country woke up in the morning with less rights than they had than when they went to bed. It’s frightening to see what’s going on. People need to wake up. We need to come together. And we need to support the blue wave that needs to push back against this red wave that we’re seeing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, May 23, 2023: \u003c/strong>After public outcry, on May 22 the \u003ca href=\"https://www.latimes.com/sports/story/2023-05-22/dodgers-apologize-invite-sisters-perpetual-indulgence-pride-night\">Dodgers apologized and re-invited\u003c/a> the Sisters of Perpetual Indulgence to their June 11 Pride Night. “This is a true testament to the power of truth over lies, knowledge over ignorance, and love over hate,” \u003ca href=\"https://www.instagram.com/p/CskkvQFuEWL/?hl=en\">Sister Roma wrote on Instagram\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original story:\u003c/strong>\u003c/p>\n\u003cp>On Wednesday, the Los Angeles Dodgers \u003ca href=\"https://twitter.com/Dodgers/status/1658908923213262848/photo/1\">posted an announcement\u003c/a> about the \u003ca href=\"https://www.thesisters.org/\">Sisters of Perpetual Indulgence\u003c/a> that almost read like satire. After outcry from the Catholic League and Sen. Marco Rubio — who \u003ca href=\"https://www.rubio.senate.gov/public/index.cfm/2023/5/rubio-to-mlb-dodgers-aren-t-inclusive-and-welcoming-to-christians\">called the Sisters an “anti-Catholic group” in a letter\u003c/a> to Major League Baseball Commissioner Rob Manfred — the Dodgers were formally disinviting the Sisters from their 10th annual Pride Night, and rescinding a Community Hero Award to the group due to “the strong feelings of people who have been offended.”\u003c/p>\n\u003cp>Backlash from the Sisters and their many supporters was immediate, especially given the rising tide of anti-LGBTQ+ legislation, and the \u003ca href=\"https://www.kqed.org/arts/13927432/drag-up-fight-back-protest-san-francisco-trans-lgbtq\">criminalization of drag performance\u003c/a> in red states. Sister Roma, one of the more prominent San Francisco nuns, spoke with KQED’s Juan Carlos Lara about this fraught moment for LGBTQ+ rights and what queer people, trans people and allies can do to fight back. \u003cem>— Nastia Voynovskaya \u003c/em>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity\u003c/i>.\u003c/p>\n\u003cp>\u003cb>Juan Carlos Lara: \u003c/b>What was your initial reaction to the news that the Dodgers were rescinding their invitation and award to the Sisters’ LA chapter?\u003c/p>\n\u003cp>\u003cstrong>Sister Roma:\u003c/strong> I was completely shocked and disappointed. The Dodgers had made such a great decision to recognize a time-tested, honored and beloved queer organization that started here in San Francisco in 1979. And then for them to so quickly cave to the far-rightwing extremists, the pseudo-Christian websites and people on Twitter who basically just weaponized their religion as a way to practice discrimination, oppression and hate.\u003c/p>\n\u003cp>They literally caved in to Marco Rubio, of all people, in Florida — which, I mean, let’s be honest, Florida is pretty much \u003ca href=\"https://www.scientificamerican.com/article/fascisms-history-offers-lessons-about-todays-attacks-on-education/\">turning into a fascist state\u003c/a>. He had to stick his nose in it and protest. It was just ridiculous how quickly it blew up. People who don’t understand who the Sisters are complained to the Dodgers. And they caved in.\u003c/p>\n\u003cfigure id=\"attachment_13929356\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929356\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/D7A7432-1020x680-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/D7A7432-1020x680-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/D7A7432-1020x680-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/D7A7432-1020x680-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/D7A7432-1020x680-1.jpg 1020w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left, Alex U. Inn, Juanita MORE!, Sister Roma and Honey Mahogany speak at the ‘Drag Up! Fight Back!’ rally at Union Square in San Francisco on Saturday, April 8, 2023. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you think is at the core of this backlash? And what do you think the right is getting wrong about the Sisters of Perpetual Indulgence?\u003c/b>\u003c/p>\n\u003cp>Luckily here in San Francisco, most people are familiar with the Sisters. Since our inception, the Sisters have been leaders and protectors of the queer community, but also all civil rights. We have always stood for women, people of color, the trans community. You’ll see us out on the holidays feeding hungry, unhoused people. You’ll see us sitting and ministering with the sick and hospices. We support queer art. We donate 95% of the hundreds of thousands of dollars that we raise directly back to the community. We are pretty well recognized here, and we have orders all over the world, and sisters in their communities are becoming well known.\u003c/p>\n\u003cp>I would have thought that Los Angeles — it’s supposed to be a strong, liberal part of our blue state. And for those people to have such knee-jerk reactions — they see the name, they see the makeup. Immediately, people jump on the bandwagon that we’re mocking nuns, we’re making fun of Catholics or mocking religion, and we’re mocking God. None of that is true. We really are nuns. We do the work of nuns.\u003c/p>\n\u003cp>The things that the sisters have an issue with is people who take the scripture and choose to interpret it in a way to discriminate against people who they disagree with and don’t like. Basically, a drag queen, a queer person, a trans person — they are weaponizing their religion against us, and they’re taking their personal beliefs to the polls. And as we can see across Florida, Tennessee, Texas, they’re \u003ca href=\"https://www.aclu.org/legislative-attacks-on-lgbtq-rights\">passing legislation\u003c/a> that is basically outlawing and criminalizing queer people, trans people and drag queens. Those are the people that the Dodgers decided to listen to. It’s insane.\u003c/p>\n\u003cfigure id=\"attachment_13929359\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929359\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1323156398-800x517.jpg\" alt=\"A man with a spiked, rainbow beard wears Dodgers gear. \" width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1323156398-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1323156398-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1323156398-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1323156398-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1323156398.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Carta celebrates LGBTQ+ Pride Night hosted by LA Pride and the Dodgers at Dodger Stadium on June 11, 2021 in Los Angeles, California. \u003ccite>( Jerritt Clark/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Given the backlash, do you think queer and trans people benefit from events like the LA Dodgers’ Pride Night? What do you think is the the significance of these events?\u003cb>\u003c/b>\u003c/b>\u003c/p>\n\u003cp>Oh, it’s impossible to underestimate the importance of high-profile Pride events. To be honest with you, some of our community has become very complacent. There’s even a little bit of a snide attitude towards Pride because we’ve become so used to the fact that we’ve had Pride in San Francisco for, like, 50 years. People really take it for granted.\u003c/p>\n\u003cp>Yes, there may be corporatization of Pride, there may be a lot of pink-washing. People stick a rainbow on their product. That is true. But it can also be true at the same time that we have huge, large public gatherings where we celebrate our uniqueness, our queerness, our transness, where we come together as a community, we show the world that we’re not the awful things that they’re using to describe us. We’re not all sick and dying of AIDS. We’re not all perverts, we’re not all groomers. None of that is true. We are a beautiful, vibrant, colorful community. We’re filled with love. We’re proud of who we are. We’re proud of the accomplishments we’ve made. And it’s really important for the Dodgers to recognize and celebrate the queer community, a lot of whom are Dodgers fans. This is very hurtful to so many people, including the Sisters in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_13929360\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929360\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1323156225-800x526.jpg\" alt=\"\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1323156225-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1323156225-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1323156225-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1323156225-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1323156225.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dodgers fans celebrate LGBTQ+ Pride Night hosted by LA Pride and the Dodgers at Dodger Stadium on June 11, 2021 in Los Angeles, California. \u003ccite>(Jerritt Clark/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The situation brings to mind the \u003ca href=\"https://www.nytimes.com/2023/04/25/business/bud-light-dylan-mulvaney.html\">recent backlash against Bud Light\u003c/a> after their ad featured a trans person, Dylan Mulvaney. After all of this backlash came in, Bud Light didn’t stand behind Mulvaney. Like you said, there’s a lot of benefit from having these very public celebrations, but do you think there’s harm when these groups reel back in response to backlash?\u003c/b>\u003c/p>\n\u003cp>We like to believe that the majority of Americans honestly at their core feel the same way we do. We believe in civil rights. We believe all people are created equal. And when we start to see companies like Bud Light and the LA Dodgers respond to that kind of hate, it’s a real red flag. While we think they’re the minority, they’re obviously in power and they’re having an impact with very real and dangerous results.\u003c/p>\n\u003cp>When some organization like the Dodgers extends this fabulous invitation and then disinvites the Sisters, that shows that there is a real lack of true understanding, first of all, of who the Sisters are. It makes it feel disingenuous.\u003c/p>\n\u003cp>So what is their motivation? The Dodgers have been doing this for 10 years. Luckily, here in San Francisco, the Giants have been doing projects since the ’90s, and I have talked to the Giants and I know for a fact that the Giants are 1000% committed to continuing their Pride Night celebration. And we’re planning something very special to celebrate and remember Heklina, one of our drag icons we lost this year. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Some groups like the \u003ca href=\"https://lalgbtcenter.org/about-the-center/press-releases/statement-the-los-angeles-lgbt-center-removes-itself-from-the-dodgers-pride-night-following-the-exclusion-of-the-sisters-of-perpetual-indulgence\">LA LGBT Center\u003c/a> and an \u003ca href=\"https://www.latimes.com/sports/dodgers/story/2023-05-17/dodgers-wont-honor-sisters-perpetual-indulgence-lgbtq-pride-night\">LA County Supervisor\u003c/a> have already said that they’re not planning to attend Pride Night anymore, given the Dodgers recent decision. Are you hoping that other groups follow suit? What are you hoping happens to their Pride Night right now?\u003c/b>\u003c/p>\n\u003cp>Honestly, we need more people to step up and speak out. I’ve seen a lot of people talking about, “Should I sell my ticket? I’m not going. No one should go.” And I do also understand the people who want to celebrate this night because they see it as a victory for our community, regardless.\u003c/p>\n\u003cp>I can’t tell anybody what to do. But definitely let your voices be heard. If you support the Sisters and you think the Dodgers, as much as you love them, have made a mistake, let them know. Perhaps something could even happen at the game. Maybe people should dress up in nun drag and put on some wild makeup and some wigs, and they should have a whole cheering section. That would be amazing. We’ll see. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>What do you think people who identify as queer, and people who hope to be allies, should be doing to combat this rise in hate?\u003c/b>\u003c/p>\n\u003cp>Well, it’s really important to actually step back and see what their true motivation is, and the truth behind these lies. You have to understand who the queer community is, who the trans community is. And if you’re a true ally, which we need now more than ever, learn how to talk about the truth. Because there’s a lot of mistruths.\u003c/p>\n\u003cp>People are using words to describe trans and queer people and drag queens today like “groomer” and “pedophile,” and immediately they’re othering us. They’re dehumanizing us. They’re making it us versus them. And they are trying to criminalize us. And the end result is, once you’re not a human and you’re a criminal, they can exterminate us. There is really a larger plan here — and I’m not trying to be sensationalist — to actually eradicate queer and trans people. We’ve seen it happen in other countries around the world. It’s happening here. There’s a very fascist movement.\u003c/p>\n\u003cp>Look, they overturned Roe v. Wade. Every woman in this country woke up in the morning with less rights than they had than when they went to bed. It’s frightening to see what’s going on. People need to wake up. We need to come together. And we need to support the blue wave that needs to push back against this red wave that we’re seeing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SF's Queer, Filipina-Owned Chocolate Shop Celebrates Love Year-Round",
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"content": "\u003cp>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/p>\n\u003cp>I have a bite-sized confession to make: I originally planned to write about San Francisco’s \u003ca href=\"https://www.instagram.com/kokakchocolates/\">Kokak Chocolates\u003c/a> last month for Valentine’s Day.\u003c/p>\n\u003cp>At the time, the LGBTQ woman-owned chocolate business was preparing to debut a love-themed set of flavors, including “Heat of the Moment,” which is a combo of dark and white chocolates with Mexican Comapeño chiles sourced from the woman-owned \u003ca href=\"https://www.boonvillebarn.com/\">Boonville Barn Collective\u003c/a>. But I wasn’t able to make it happen.\u003c/p>\n\u003cp>To be fair, my first child was born just days ahead of my scheduled interview with Carol Gancia, the self-taught Filipina chocolatier who founded Kokak — so I spent the following weeks, including Valentine’s Day, with a small, heartwarming human in my arms instead.\u003c/p>\n\u003cp>But Kokak, it turns out, is just as good in March as it is in February — or any time of year, for that matter. In fact, having to wait that extra month infused me with even more desire to taste the premium Bay Area chocolates, which are filled with joy and spices in all their flavorful forms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With creative options that defy the conventional notions of chocolate — Kokak’s seasonal flavors include pizza and ramen, for example — Gancia doesn’t play it safe. Instead, she enjoys challenging herself to push past her comfort zone, a trait she gained when she first immigrated to California from her native Philippine islands.\u003c/p>\n\u003cp>Rooted in her vibrant Asian Pacific heritage and driven by a passion to connect with ancestral flavors through rare, organic ingredients like \u003ca href=\"https://www.bbc.com/travel/article/20190916-the-worlds-most-exquisite-chocolate\">Ecuadorian Nacional cacao\u003c/a>, Kokak is more than just chocolates. It’s a way, Gancia says, to tell others, “I love you just the way you are.”\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>ALAN CHAZARO: When did your appreciation for chocolates first begin?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CAROL GANCIA: \u003c/b>I grew up on the Philippine islands. I was lucky, being from a middle-class family, to have an uncle who was a sought-after engineer. He got contracts that had him travel abroad, around Western Europe, where they have quality chocolates. He would bring them back home — dark chocolate, mint, even liqueurs. I had a chance to taste those, not realizing my love of chocolate came from him. I [later] realized chocolate is a memory, a happy memory.\u003c/p>\n\u003cfigure id=\"attachment_13925997\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925997\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/kokak_mango-800x1200.jpg\" alt=\"dried mangoes dipped in chocolates\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_mango-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_mango-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_mango-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_mango-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_mango-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_mango-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_mango-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tropical flavors like these chocolate-dipped dried mangoes are inspired by Carol Gancia’s upbringing on the Philippine islands. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did that translate into you becoming a professional chocolatier?\u003c/b>\u003c/p>\n\u003cp>I make chocolates in the form of truffles and bars. I do it every day with two other chocolatiers. The kind of shop we have is tropically inspired and based on my background. We’re a couple blocks from Castro Street on 18th and Sanchez.\u003c/p>\n\u003cp>When I was growing up, chocolate was in the background; I always had chocolate in my pockets. But I started out as a journalist broadcasting in the Philippines. I got involved in video production and continued that work in the U.S. [after moving here in 2004]. I even worked as a producer for “\u003ca href=\"https://www.kqed.org/checkplease\">Check, Please! Bay Area\u003c/a>” on KQED. I produced for Jacques Pépin, and that helped me improve my palette. You read the recipe, and plan it out with the executive producer. That’s how I learned informally about the culinary world.\u003c/p>\n\u003cp>I was still producing, and after 20 years — about five years ago — I was eager to do something different that I would be scared about. I was too complacent [as a video producer]. I wanted to feel what it was like to start something and be clueless. I decided to learn about chocolates and sell on the side until it became a full business [in 2020]. Sometimes I still don’t know what I’m doing. I’m still learning, and I still operate a video production business.\u003c/p>\n\u003cfigure id=\"attachment_13925999\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925999\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/kokak_truffles-800x533.jpg\" alt=\"A tray of colorfully decorated chocolates at Kokak in San Francisco\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_truffles-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_truffles-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_truffles-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_truffles-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_truffles-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_truffles.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A preview of the seasonal Easter chocolates that will be available at Kokak this month. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What does the word “kokak” represent for you?\u003c/b>\u003c/p>\n\u003cp>Kokak literally means “ribbit” in English. I was conceptualizing the name of my shop and noticing the [other] chocolate brands and names. It was usually last names or serious words. I wanted to make a splash, [since] I had no background in chocolate. I chose Kokak and added an exclamation point because I wanted to represent myself and who I am. I studied in the Philippines, and my campus had lily pads, beautiful flowers, ponds and frogs. Kokak reminds me of my home — the wonderful tropical life. It’s a conversation starter as well. Customers ask me what it means, and I can tell the story of the Philippine islands. My shop is more than selling chocolates. It’s an experience, a borrowed memory.\u003c/p>\n\u003cp>\u003cb>Your Filipina heritage is an important aspect of your identity. Tell us about how that emerges in your variety of chocolate flavors.\u003c/b>\u003c/p>\n\u003cp>I think of kalamansi — it’s a lime in the Philippines and is abundant there. My mom would make me hot kalamansi juice when I was sick. But in the summer, it was served cold, like lemonade. We included that as a popular flavor at Kokak.\u003c/p>\n\u003cp>[pullquote size=\"large\" align=\"right\" citation=\"Carol Gancia\"]“My shop is more than selling chocolates. It’s an experience, a borrowed memory.”[/pullquote]We opened our shop during the pandemic, and we had a lot of time to think. We had about 50 recipes I created from the start, and we rotate that throughout the year. My favorite is our guava truffle — all made from scratch. Coconut pie is another. There’s a place in the southern part of metro Manila where they make buko pies — coconut pies. They’re not sweet, they’re just full of coconut meat. That’s a memory and an inspiration for our truffles.\u003c/p>\n\u003cp>\u003cb>Do you serve anything besides chocolate?\u003c/b>\u003c/p>\n\u003cp>We also have our cacao porridge. Growing up in the Philippines, every Christmas season we make champurrado — it’s a [beverage] mix of chocolate and rice. A long time ago, in the 1500s, there was trade happening between the Philippines and Mexico. Mexico brought chocolates to us. Back then, most [Filipinos] were rice farmers. It’s a testament to the friendship between Mexicans and Filipinos — champurrado. That’s available year round, and we offer dine-in at our shop as well.\u003c/p>\n\u003cp>\u003cb>What’s your connection to the Bay Area, and how is that reflected in your business?\u003c/b>\u003c/p>\n\u003cp>As far as flavors, we have Earl Grey, which is a very San Francisco afternoon tea I enjoy with the ladies. I don’t always get to do that much these days (laughs). I looked for Earl Grey and infused it with berry and chocolate for the filling. The Earl Grey tea we use is organic, fair trade and local. We also have coffee truffles, and the coffee is local.\u003c/p>\n\u003cfigure id=\"attachment_13925998\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/kokak_shirt-800x1200.jpg\" alt='a t-shirt at Kokak reads: \"love is love is love is chocolate is love...\"' width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_shirt-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_shirt-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_shirt-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_shirt-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_shirt-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_shirt-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_shirt-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Love Is Chocolate Is Love” t-shirt at Kokak. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as we can, we keep our ingredients local. I can get tea from the grocery, but we find really premium teas from here. Same with our dairy. You don’t want your truffles to taste faint. Our truffles stay fresh, and the flavors are punchy.\u003c/p>\n\u003cp>We also identify as an LGBTQ shop and ship all over the country with our Pride-inspired chocolates. One of my favorite things is reading note cards that we write to ship for our customers. One customer wrote, “Dear [Anonymous], I love you just the way you are. From Mom.” It made me teary-eyed. And made me realize I was in the right place.\u003c/p>\n\u003cp>\u003cb>Who are some of your favorite chocolatiers right now in Northern California?\u003c/b>\u003c/p>\n\u003cp>I like chocolates not just for flavor but also meaning. I like to support female chocolatiers, too. The reality is that if you sum up all the chocolate makers, it’s still very male dominated. There are two [local chocolatiers] who are my competition but also my friends: \u003ca href=\"https://www.socolachocolates.com/\">Socola\u003c/a> and \u003ca href=\"https://www.jadechocolates.com/\">Jade Chocolates\u003c/a>. We meet up every once in a while. We’ve done events and have camaraderie. I love this industry because of that. In the video production business it’s competitive. But in chocolate, we help each other. We’re excited to see each other at the pop-up events. It’s supportive in a weird way. That’s motivating.\u003c/p>\n\u003cp>\u003cb>For someone like me, who doesn’t usually go out of their way for chocolates, what makes Kokak worthwhile?\u003c/b>\u003c/p>\n\u003cp>[aside postID='arts_13923127,arts_13919707,arts_13914042']I’m a small business owner. I never dreamed about earning billions of dollars and growing an empire. I enjoy the human-to-human touch. I want to connect with people. We’re already making less profit than a factory setting.\u003c/p>\n\u003cp>I made a tough decision that cut into our profitability [with] our biggest ingredient, which is a rare cacao. It’s the first domestically grown cacao tree [in the world] from several thousand years back. I let that melt slowly in my mouth and imagine what our ancestors were tasting years and years ago. This rare [Nacional] cacao in Ecuador is grown for flavor, not yield. A lot of chocolate growers sell ingredients for much cheaper, but they are from chocolate strains that were grown for volume production. Flavor is less of a priority.\u003c/p>\n\u003cp>Nacional wins over that. The genetics of the chocolate that we use is the same as our ancestors tasted.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Kokak Chocolates (3901 18th St., San Francisco) is open Tues. 11:30 a.m. to 5 p.m. and Wed. through Sun. 11:30 a.m. to 6 p.m.\u003c/i>\u003c/p>\n\n",
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"title": "SF's Queer, Filipina-Owned Chocolate Shop Celebrates Love Year-Round in the Castro | KQED",
"description": "Kokak Chocolates makes organic truffles and bars that taste like kalamansi, pizza and even ramen.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/p>\n\u003cp>I have a bite-sized confession to make: I originally planned to write about San Francisco’s \u003ca href=\"https://www.instagram.com/kokakchocolates/\">Kokak Chocolates\u003c/a> last month for Valentine’s Day.\u003c/p>\n\u003cp>At the time, the LGBTQ woman-owned chocolate business was preparing to debut a love-themed set of flavors, including “Heat of the Moment,” which is a combo of dark and white chocolates with Mexican Comapeño chiles sourced from the woman-owned \u003ca href=\"https://www.boonvillebarn.com/\">Boonville Barn Collective\u003c/a>. But I wasn’t able to make it happen.\u003c/p>\n\u003cp>To be fair, my first child was born just days ahead of my scheduled interview with Carol Gancia, the self-taught Filipina chocolatier who founded Kokak — so I spent the following weeks, including Valentine’s Day, with a small, heartwarming human in my arms instead.\u003c/p>\n\u003cp>But Kokak, it turns out, is just as good in March as it is in February — or any time of year, for that matter. In fact, having to wait that extra month infused me with even more desire to taste the premium Bay Area chocolates, which are filled with joy and spices in all their flavorful forms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With creative options that defy the conventional notions of chocolate — Kokak’s seasonal flavors include pizza and ramen, for example — Gancia doesn’t play it safe. Instead, she enjoys challenging herself to push past her comfort zone, a trait she gained when she first immigrated to California from her native Philippine islands.\u003c/p>\n\u003cp>Rooted in her vibrant Asian Pacific heritage and driven by a passion to connect with ancestral flavors through rare, organic ingredients like \u003ca href=\"https://www.bbc.com/travel/article/20190916-the-worlds-most-exquisite-chocolate\">Ecuadorian Nacional cacao\u003c/a>, Kokak is more than just chocolates. It’s a way, Gancia says, to tell others, “I love you just the way you are.”\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>ALAN CHAZARO: When did your appreciation for chocolates first begin?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CAROL GANCIA: \u003c/b>I grew up on the Philippine islands. I was lucky, being from a middle-class family, to have an uncle who was a sought-after engineer. He got contracts that had him travel abroad, around Western Europe, where they have quality chocolates. He would bring them back home — dark chocolate, mint, even liqueurs. I had a chance to taste those, not realizing my love of chocolate came from him. I [later] realized chocolate is a memory, a happy memory.\u003c/p>\n\u003cfigure id=\"attachment_13925997\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925997\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/kokak_mango-800x1200.jpg\" alt=\"dried mangoes dipped in chocolates\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_mango-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_mango-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_mango-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_mango-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_mango-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_mango-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_mango-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tropical flavors like these chocolate-dipped dried mangoes are inspired by Carol Gancia’s upbringing on the Philippine islands. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did that translate into you becoming a professional chocolatier?\u003c/b>\u003c/p>\n\u003cp>I make chocolates in the form of truffles and bars. I do it every day with two other chocolatiers. The kind of shop we have is tropically inspired and based on my background. We’re a couple blocks from Castro Street on 18th and Sanchez.\u003c/p>\n\u003cp>When I was growing up, chocolate was in the background; I always had chocolate in my pockets. But I started out as a journalist broadcasting in the Philippines. I got involved in video production and continued that work in the U.S. [after moving here in 2004]. I even worked as a producer for “\u003ca href=\"https://www.kqed.org/checkplease\">Check, Please! Bay Area\u003c/a>” on KQED. I produced for Jacques Pépin, and that helped me improve my palette. You read the recipe, and plan it out with the executive producer. That’s how I learned informally about the culinary world.\u003c/p>\n\u003cp>I was still producing, and after 20 years — about five years ago — I was eager to do something different that I would be scared about. I was too complacent [as a video producer]. I wanted to feel what it was like to start something and be clueless. I decided to learn about chocolates and sell on the side until it became a full business [in 2020]. Sometimes I still don’t know what I’m doing. I’m still learning, and I still operate a video production business.\u003c/p>\n\u003cfigure id=\"attachment_13925999\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925999\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/kokak_truffles-800x533.jpg\" alt=\"A tray of colorfully decorated chocolates at Kokak in San Francisco\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_truffles-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_truffles-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_truffles-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_truffles-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_truffles-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_truffles.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A preview of the seasonal Easter chocolates that will be available at Kokak this month. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What does the word “kokak” represent for you?\u003c/b>\u003c/p>\n\u003cp>Kokak literally means “ribbit” in English. I was conceptualizing the name of my shop and noticing the [other] chocolate brands and names. It was usually last names or serious words. I wanted to make a splash, [since] I had no background in chocolate. I chose Kokak and added an exclamation point because I wanted to represent myself and who I am. I studied in the Philippines, and my campus had lily pads, beautiful flowers, ponds and frogs. Kokak reminds me of my home — the wonderful tropical life. It’s a conversation starter as well. Customers ask me what it means, and I can tell the story of the Philippine islands. My shop is more than selling chocolates. It’s an experience, a borrowed memory.\u003c/p>\n\u003cp>\u003cb>Your Filipina heritage is an important aspect of your identity. Tell us about how that emerges in your variety of chocolate flavors.\u003c/b>\u003c/p>\n\u003cp>I think of kalamansi — it’s a lime in the Philippines and is abundant there. My mom would make me hot kalamansi juice when I was sick. But in the summer, it was served cold, like lemonade. We included that as a popular flavor at Kokak.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We opened our shop during the pandemic, and we had a lot of time to think. We had about 50 recipes I created from the start, and we rotate that throughout the year. My favorite is our guava truffle — all made from scratch. Coconut pie is another. There’s a place in the southern part of metro Manila where they make buko pies — coconut pies. They’re not sweet, they’re just full of coconut meat. That’s a memory and an inspiration for our truffles.\u003c/p>\n\u003cp>\u003cb>Do you serve anything besides chocolate?\u003c/b>\u003c/p>\n\u003cp>We also have our cacao porridge. Growing up in the Philippines, every Christmas season we make champurrado — it’s a [beverage] mix of chocolate and rice. A long time ago, in the 1500s, there was trade happening between the Philippines and Mexico. Mexico brought chocolates to us. Back then, most [Filipinos] were rice farmers. It’s a testament to the friendship between Mexicans and Filipinos — champurrado. That’s available year round, and we offer dine-in at our shop as well.\u003c/p>\n\u003cp>\u003cb>What’s your connection to the Bay Area, and how is that reflected in your business?\u003c/b>\u003c/p>\n\u003cp>As far as flavors, we have Earl Grey, which is a very San Francisco afternoon tea I enjoy with the ladies. I don’t always get to do that much these days (laughs). I looked for Earl Grey and infused it with berry and chocolate for the filling. The Earl Grey tea we use is organic, fair trade and local. We also have coffee truffles, and the coffee is local.\u003c/p>\n\u003cfigure id=\"attachment_13925998\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/kokak_shirt-800x1200.jpg\" alt='a t-shirt at Kokak reads: \"love is love is love is chocolate is love...\"' width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_shirt-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_shirt-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_shirt-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_shirt-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_shirt-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_shirt-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/kokak_shirt-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Love Is Chocolate Is Love” t-shirt at Kokak. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as we can, we keep our ingredients local. I can get tea from the grocery, but we find really premium teas from here. Same with our dairy. You don’t want your truffles to taste faint. Our truffles stay fresh, and the flavors are punchy.\u003c/p>\n\u003cp>We also identify as an LGBTQ shop and ship all over the country with our Pride-inspired chocolates. One of my favorite things is reading note cards that we write to ship for our customers. One customer wrote, “Dear [Anonymous], I love you just the way you are. From Mom.” It made me teary-eyed. And made me realize I was in the right place.\u003c/p>\n\u003cp>\u003cb>Who are some of your favorite chocolatiers right now in Northern California?\u003c/b>\u003c/p>\n\u003cp>I like chocolates not just for flavor but also meaning. I like to support female chocolatiers, too. The reality is that if you sum up all the chocolate makers, it’s still very male dominated. There are two [local chocolatiers] who are my competition but also my friends: \u003ca href=\"https://www.socolachocolates.com/\">Socola\u003c/a> and \u003ca href=\"https://www.jadechocolates.com/\">Jade Chocolates\u003c/a>. We meet up every once in a while. We’ve done events and have camaraderie. I love this industry because of that. In the video production business it’s competitive. But in chocolate, we help each other. We’re excited to see each other at the pop-up events. It’s supportive in a weird way. That’s motivating.\u003c/p>\n\u003cp>\u003cb>For someone like me, who doesn’t usually go out of their way for chocolates, what makes Kokak worthwhile?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’m a small business owner. I never dreamed about earning billions of dollars and growing an empire. I enjoy the human-to-human touch. I want to connect with people. We’re already making less profit than a factory setting.\u003c/p>\n\u003cp>I made a tough decision that cut into our profitability [with] our biggest ingredient, which is a rare cacao. It’s the first domestically grown cacao tree [in the world] from several thousand years back. I let that melt slowly in my mouth and imagine what our ancestors were tasting years and years ago. This rare [Nacional] cacao in Ecuador is grown for flavor, not yield. A lot of chocolate growers sell ingredients for much cheaper, but they are from chocolate strains that were grown for volume production. Flavor is less of a priority.\u003c/p>\n\u003cp>Nacional wins over that. The genetics of the chocolate that we use is the same as our ancestors tasted.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Kokak Chocolates (3901 18th St., San Francisco) is open Tues. 11:30 a.m. to 5 p.m. and Wed. through Sun. 11:30 a.m. to 6 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "10 Must-See Concerts in the Bay Area This Fall",
"headTitle": "10 Must-See Concerts in the Bay Area This Fall | KQED",
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Whether you’re looking to see local talent in an intimate club, experience a chart-topping pop star in an arena or dance at an outdoor festival, there are plenty of concerts to look forward to in the Bay Area this fall. KQED has you covered with 10 must-see shows.\u003c/p>\n\u003cp>And please remember, as joyous as it is to gather with strangers to see live music, the pandemic isn’t over, and artists are \u003ca href=\"https://www.kqed.org/arts/13912324/mask-requirements-touring-musicians-covid-tsa\" target=\"_blank\" rel=\"noopener noreferrer\">touring at great personal and financial risk\u003c/a>. Be mindful and mask up, and spend your dollars at the merch booth if you can.\u003c/p>\n\u003cfigure id=\"attachment_13902527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902527\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1503.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Freedia backstage at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://pridefestoakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pridefest Oakland: Big Freedia, Crystal Waters, Madame Gandhi\u003c/a>\u003c/h2>\n\u003cp>\u003ci>20th & Broadway, Oakland\u003cbr>\nSept. 11, 11am-6pm\u003cbr>\nFree\u003c/i>\u003c/p>\n\u003cp>San Francisco Pride gets all the glory, but we get to celebrate LGBTQ+ identity all over again three months later across the Bay Bridge. The smaller but mighty Pridefest Oakland features some musical heavy hitters. This year’s headliner is the queen of New Orleans bounce music herself, Big Freedia. After grinding it out on the queer party circuit for years, she’s recently risen to mainstream prominence thanks to Beyoncé, who featured her on “Formation” and then again on this year’s song of the summer, “Break My Soul.” She’s joined by Crystal Waters, whose iconic ’90s house tracks “Gypsy Woman” and “100% Pure Love” continue to light up dance floors at queer parties worldwide. Percussionist, singer and electronic producer Madame Gandhi will perform her liberatory pop as well.\u003c/p>\n\u003cfigure id=\"attachment_13917879\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917879\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-1157222866-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1157222866-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1157222866-1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1157222866-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1157222866-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1157222866.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa-Kainde and Naomi Diaz of Ibeyi perform on day three of the Pitchfork Music Festival at Union Park on July 21, 2019 in Chicago, Illinois. \u003ccite>( Michael Hickey/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.theregencyballroom.com/events/detail/428812\" target=\"_blank\" rel=\"noopener noreferrer\">Ibeyi\u003c/a>\u003c/h2>\n\u003cp>\u003ci>With Madison McFerrin\u003cbr>\nThe Regency Ballroom\u003cbr>\nSept. 17, doors: 7:30pm, show: 8:30pm\u003cbr>\n$32.50-$45\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hailing from France and drawing on their Afro-Cuban heritage, twin sisters Ibeyi make a deeply spiritual form of electronic pop that pays homage to the West African Yoruba faith they were raised in. Lisa-Kaindé and Naomi Diaz sing in French, Spanish, Yoruba and English about magic, healing, miracles, blood ties and spiritual bonds. At Regency Ballroom, they perform with Madison McFerrin, a graceful neo-soul vocalist and daughter of musical wizard and NEA Jazz Master Bobby McFerrin.\u003c/p>\n\u003cfigure id=\"attachment_13863766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/MG_7206-1-800x533.jpg\" alt=\"Toro y Moi performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7206-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7206-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7206-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://portolamusicfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Portola Festival: Flume, The Chemical Brothers and more\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Pier 80, San Francisco\u003cbr>\nSept. 24 and 25\u003cbr>\nSingle day: $199.99+, weekend pass: $399.99+\u003c/i>\u003c/p>\n\u003cp>The new music festival Portola brings together OG stars of electronic music with new chart-toppers and standout indie favorites. The Chemical Brothers and Flume are the headliners, and the rest of the bill features a well-curated, diverse lineup. There are ultra-hip house music DJs and producers like Peggy Gou, Kaytranada, Yaeji and Channel Tres; cult pop stars M.I.A., Caroline Polachek, Charlie XCX and PinkPantheress; genre-bending singer-songwriters \u003ca href=\"https://www.kqed.org/arts/13912444/toro-y-moi-new-album-mahal-bay-area-filipino\">Toro y Moi\u003c/a>, Arca, James Blake and Yves Tumor; hip-hop innovator (and San Jose native) DJ Shadow and too many other artists to list. There’s no big, mainstream EDM at Portola—it celebrates the more alternative and experimental side of DJ and electronic music culture.\u003c/p>\n\u003cfigure id=\"attachment_13917880\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917880\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-1186416847-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1186416847-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1186416847-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1186416847-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1186416847-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1186416847.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musicians Daoud Popal (L) and Ryu Kurosawa of Kikagaku Moyo perform onstage during Levitation at Barracuda on November 07, 2019 in Austin, Texas. \u003ccite>(Rick Kern/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/443539\" target=\"_blank\" rel=\"noopener noreferrer\">Kikagaku Moyo\u003c/a>\u003c/h2>\n\u003cp>\u003ci>With Briana Marela\u003cbr>\nThe Warfield\u003cbr>\nSept. 25, doors: 6:30pm, show: 8pm\u003cbr>\n$45-$65\u003c/i>\u003c/p>\n\u003cp>Japanese psych-rock band Kikagaku Moyo make perfect road trip music. Their guitar solos shimmer, chimes add a celestial glow and the occasion sitar or wah pedal swirls through the composition. Singing softly in Japanese, the group evokes a more amped-up version of the Beatles in their acid trip era, when George Harrison traveled to India to study transcendental meditation. Kikagaku Moyo’s profile has risen amid a psychedelic renaissance led Stateside by their Texan peers Khruangbin. Sadly, the group recently announced \u003ca href=\"https://daily.bandcamp.com/features/kikagaku-moyo-albums-guide\" target=\"_blank\" rel=\"noopener noreferrer\">an amicable breakup\u003c/a> as they go on to pursue other projects. Their show at the Warfield might be the last time they play San Francisco in this incarnation.\u003c/p>\n\u003cfigure id=\"attachment_13905597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs at Outside Lands on Sunday, Oct. 31, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.theoaklandarena.com/events/detail/kehlani-1\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani\u003c/a>\u003c/h2>\n\u003cp>\u003ci>With Rico Nasty, Destin Conrad\u003cbr>\nOakland Arena, Oakland\u003cbr>\nSept. 30, 8pm\u003cbr>\n$49.50+\u003c/i>\u003c/p>\n\u003cp>It’s always a treat to see Kehlani at a hometown show, where fans who’ve been following the singer’s career since their days at Oakland School for the Arts sing along to every word. The Oakland-raised R&B star has spent the past few years maturing as a lyricist, and they’ve described their latest album, \u003ci>blue water road\u003c/i>, as a return to \u003ca href=\"https://youtu.be/mnlBRAV01C4\" target=\"_blank\" rel=\"noopener noreferrer\">making the kind of music they want to listen to\u003c/a> instead of satisfying the demands of the market. The more honest approach works. With understated, moody production and an emphasis on Kehlani’s gently raspy voice, \u003ci>blue water road\u003c/i> captivates with its vivid vignettes of “it’s complicated” situationships, queer desire, questionable decisions and budding romance. Even at a big arena show, Kehlani has a gift for connecting with their audience heart-to-heart.\u003c/p>\n\u003cfigure id=\"attachment_13917881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917881\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-1014882694-800x513.jpg\" alt=\"\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694-1020x654.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Colombian band Bomba Estereo perform during the ‘Jungla’ Tour at The Plaza Live on August 10, 2018 in Orlando, Florida. \u003ccite>(Gerardo Mora/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thegreekberkeley.com/events/bomba-estereo-221001\" target=\"_blank\" rel=\"noopener noreferrer\">Bomba Estéreo\u003c/a>\u003c/h2>\n\u003cp>\u003ci>The Greek Theatre, Berkeley\u003cbr>\nOct. 1, doors: 5:30pm, show: 7pm\u003cbr>\n$49.50+\u003c/i>\u003c/p>\n\u003cp>The mainstream music world recently got acquainted with Bomba Estéreo’s glittering, neon-lit pop when they featured on Bad Bunny’s new album, \u003ci>Un Verano Sin Ti\u003c/i>. The Colombian duo helped the Puerto Rican reggaeton star land a softer sound on “Ojitos Lindos,” but they’ve been combining indie pop with global rhythms since their debut in 2006. Their latest album, \u003ci>Deja\u003c/i>, mixes elements of salsa, cumbia and folk music with bright synths and propulsive grooves. Their Greek Theatre show promises a tropical dance party under the Northern California redwoods.\u003c/p>\n\u003cfigure id=\"attachment_13917882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917882\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-1062821540-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1062821540-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1062821540-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1062821540-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1062821540-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1062821540.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The English indie pop band Superorganism performs live at Circolo Magnolia Segrate in Milan, Italy on 15 November 2018. \u003ccite>(Roberto Finizio/NurPhoto via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.ticketweb.com/event/superorganism-the-ritz-tickets/11871255\" target=\"_blank\" rel=\"noopener noreferrer\">Superorganism\u003c/a>\u003c/h2>\n\u003cp>\u003ci>The Ritz, San Jose\u003cbr>\nOct. 19, 7pm\u003cbr>\n$20+\u003c/i>\u003cbr>\nSuperorganism’s songs bounce around with a hyperactive, childlike energy that unlocks listeners’ inner desire to play. (Case in point, their \u003ca href=\"https://www.youtube.com/watch?v=2K49QKVR0p0\" target=\"_blank\" rel=\"noopener noreferrer\">NPR Tiny Desk Concert\u003c/a> from back in 2018 included a band member whose job it was to blow bubbles and make splashing sounds in a bucket of water.) On their newest album, \u003ci>World Wide Pop\u003c/i>, the band takes on human unity in the face of alien invaders, space travel and more mundane topics like not fitting in with the latest trends. Their show at the Ritz should be a silly, good time that encourages us to expand our imaginations.\u003c/p>\n\u003cfigure id=\"attachment_13917883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917883\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-1241526079-800x522.jpg\" alt=\"\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1241526079-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1241526079-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1241526079-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1241526079-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1241526079.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The War On Drugs performing during the British Summer Time festival at Hyde Park in London on June 25, 2022. \u003ccite>(Ian West/PA Images via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.soundsummit.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Sound Summit: The War On Drugs, Faye Webster and More\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Mountain Theater, Mt. Tamalpais State Park, Mill Valley\u003cbr>\nOct. 22\u003cbr>\n$120+\u003c/i>\u003c/p>\n\u003cp>Bay Area music fans are lucky to have so many gorgeous parks that double as venues for live music. One of the lesser-known destinations is the summit of Mount Tam, a uniquely gorgeous, lush oasis with epic views of the Pacific Ocean and the entire Bay Area. Once a year, Sound Summit invites fans to enjoy some mellow indie rock on the peak as part of a fundraiser for Roots & Branches Conservancy, a nonprofit group dedicated to the preservation of natural gems like Mount Tam. This year’s headliners include The War On Drugs, alternative country singer Faye Webster, folk act Fruit Bats and Americana-soul sextet Wreckless Strangers.\u003c/p>\n\u003cfigure id=\"attachment_13870600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-800x450.jpg\" alt=\"EMPIRE artist Rexx Life Raj.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Rexx-Life-Raj-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Rexx-Life-Raj-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Rexx-Life-Raj-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Rexx-Life-Raj-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Rexx-Life-Raj-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Rexx-Life-Raj-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rexx Life Raj. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.ticketweb.com/event/rexx-life-raj-travis-thompson-august-hall-tickets/12233945?pl=august&edpPlParam=%3Fpl%3Daugust\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a>\u003c/h2>\n\u003cp>\u003ci>With Travis Thompson\u003cbr>\nAugust Hall, San Francisco\u003cbr>\nNov. 4, 7pm\u003cbr>\n$30+\u003c/i>\u003c/p>\n\u003cp>After two years of pandemic living and too many national crises to count, everyone is tired of pretending to be OK. Ever the savvy songwriter, Rexx Life Raj gives voice to the many messy stages of grief on \u003ca href=\"https://www.kqed.org/arts/13915940/rexx-life-raj-the-blue-hour-empire\">his latest album, \u003ci>The Blue Hour\u003c/i>\u003c/a>. The Berkeley-raised rap star penned it after he tragically lost both of his parents to health issues in 2021. As he began to open up about his grieving process, he received an outpouring of support from fans who also had something or someone to mourn—which, after the last two years, is a lot of us. The project illuminates one of Raj’s greatest strengths: finding life lessons in even the biggest difficulties and giving his listeners the motivation to keep pushing. His August Hall show is the last one of his \u003ci>Blue Hour\u003c/i> tour, and it should be a cathartic homecoming.\u003c/p>\n\u003cfigure id=\"attachment_13905555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905555\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Lizzo-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Lizzo-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Lizzo-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Lizzo-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo Performs at Outside Lands on Saturday, Oct. 30, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.chasecenter.com/events/lizzo-20221112\" target=\"_blank\" rel=\"noopener noreferrer\">Lizzo\u003c/a>\u003c/h2>\n\u003cp>\u003ci>With Latto\u003cbr>\nChase Center, San Francisco\u003cbr>\nNov. 12, doors: 7pm\u003cbr>\n$282+\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Hit play on Lizzo’s latest album, \u003ci>Special\u003c/i>, (or any of her projects, really), and you’ll instantly feel like you’re a part of her fun, free-spirited girl squad, ready to take on the world. Her danceable, expansive pop brims with an infectious confidence, and champions female friendship rather than competition. Not to mention she puts on a killer show—few in entertainment can say they have the ability to twerk while playing the flute, or belt out soulful vocal runs while performing athletic choreography. Her Chase Center show should be a blast, and support from high-femme Atlanta rap star Latto will make it that much better.\u003c/p>\n\n",
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"excerpt": "Whether you're looking to see local acts or chart-topping pop stars, we have you covered. ",
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"title": "10 Must-See Concerts in the Bay Area This Fall | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Whether you’re looking to see local talent in an intimate club, experience a chart-topping pop star in an arena or dance at an outdoor festival, there are plenty of concerts to look forward to in the Bay Area this fall. KQED has you covered with 10 must-see shows.\u003c/p>\n\u003cp>And please remember, as joyous as it is to gather with strangers to see live music, the pandemic isn’t over, and artists are \u003ca href=\"https://www.kqed.org/arts/13912324/mask-requirements-touring-musicians-covid-tsa\" target=\"_blank\" rel=\"noopener noreferrer\">touring at great personal and financial risk\u003c/a>. Be mindful and mask up, and spend your dollars at the merch booth if you can.\u003c/p>\n\u003cfigure id=\"attachment_13902527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902527\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1503.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Freedia backstage at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://pridefestoakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pridefest Oakland: Big Freedia, Crystal Waters, Madame Gandhi\u003c/a>\u003c/h2>\n\u003cp>\u003ci>20th & Broadway, Oakland\u003cbr>\nSept. 11, 11am-6pm\u003cbr>\nFree\u003c/i>\u003c/p>\n\u003cp>San Francisco Pride gets all the glory, but we get to celebrate LGBTQ+ identity all over again three months later across the Bay Bridge. The smaller but mighty Pridefest Oakland features some musical heavy hitters. This year’s headliner is the queen of New Orleans bounce music herself, Big Freedia. After grinding it out on the queer party circuit for years, she’s recently risen to mainstream prominence thanks to Beyoncé, who featured her on “Formation” and then again on this year’s song of the summer, “Break My Soul.” She’s joined by Crystal Waters, whose iconic ’90s house tracks “Gypsy Woman” and “100% Pure Love” continue to light up dance floors at queer parties worldwide. Percussionist, singer and electronic producer Madame Gandhi will perform her liberatory pop as well.\u003c/p>\n\u003cfigure id=\"attachment_13917879\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917879\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-1157222866-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1157222866-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1157222866-1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1157222866-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1157222866-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1157222866.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa-Kainde and Naomi Diaz of Ibeyi perform on day three of the Pitchfork Music Festival at Union Park on July 21, 2019 in Chicago, Illinois. \u003ccite>( Michael Hickey/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.theregencyballroom.com/events/detail/428812\" target=\"_blank\" rel=\"noopener noreferrer\">Ibeyi\u003c/a>\u003c/h2>\n\u003cp>\u003ci>With Madison McFerrin\u003cbr>\nThe Regency Ballroom\u003cbr>\nSept. 17, doors: 7:30pm, show: 8:30pm\u003cbr>\n$32.50-$45\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hailing from France and drawing on their Afro-Cuban heritage, twin sisters Ibeyi make a deeply spiritual form of electronic pop that pays homage to the West African Yoruba faith they were raised in. Lisa-Kaindé and Naomi Diaz sing in French, Spanish, Yoruba and English about magic, healing, miracles, blood ties and spiritual bonds. At Regency Ballroom, they perform with Madison McFerrin, a graceful neo-soul vocalist and daughter of musical wizard and NEA Jazz Master Bobby McFerrin.\u003c/p>\n\u003cfigure id=\"attachment_13863766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/MG_7206-1-800x533.jpg\" alt=\"Toro y Moi performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7206-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7206-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7206-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://portolamusicfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Portola Festival: Flume, The Chemical Brothers and more\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Pier 80, San Francisco\u003cbr>\nSept. 24 and 25\u003cbr>\nSingle day: $199.99+, weekend pass: $399.99+\u003c/i>\u003c/p>\n\u003cp>The new music festival Portola brings together OG stars of electronic music with new chart-toppers and standout indie favorites. The Chemical Brothers and Flume are the headliners, and the rest of the bill features a well-curated, diverse lineup. There are ultra-hip house music DJs and producers like Peggy Gou, Kaytranada, Yaeji and Channel Tres; cult pop stars M.I.A., Caroline Polachek, Charlie XCX and PinkPantheress; genre-bending singer-songwriters \u003ca href=\"https://www.kqed.org/arts/13912444/toro-y-moi-new-album-mahal-bay-area-filipino\">Toro y Moi\u003c/a>, Arca, James Blake and Yves Tumor; hip-hop innovator (and San Jose native) DJ Shadow and too many other artists to list. There’s no big, mainstream EDM at Portola—it celebrates the more alternative and experimental side of DJ and electronic music culture.\u003c/p>\n\u003cfigure id=\"attachment_13917880\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917880\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-1186416847-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1186416847-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1186416847-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1186416847-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1186416847-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1186416847.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musicians Daoud Popal (L) and Ryu Kurosawa of Kikagaku Moyo perform onstage during Levitation at Barracuda on November 07, 2019 in Austin, Texas. \u003ccite>(Rick Kern/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/443539\" target=\"_blank\" rel=\"noopener noreferrer\">Kikagaku Moyo\u003c/a>\u003c/h2>\n\u003cp>\u003ci>With Briana Marela\u003cbr>\nThe Warfield\u003cbr>\nSept. 25, doors: 6:30pm, show: 8pm\u003cbr>\n$45-$65\u003c/i>\u003c/p>\n\u003cp>Japanese psych-rock band Kikagaku Moyo make perfect road trip music. Their guitar solos shimmer, chimes add a celestial glow and the occasion sitar or wah pedal swirls through the composition. Singing softly in Japanese, the group evokes a more amped-up version of the Beatles in their acid trip era, when George Harrison traveled to India to study transcendental meditation. Kikagaku Moyo’s profile has risen amid a psychedelic renaissance led Stateside by their Texan peers Khruangbin. Sadly, the group recently announced \u003ca href=\"https://daily.bandcamp.com/features/kikagaku-moyo-albums-guide\" target=\"_blank\" rel=\"noopener noreferrer\">an amicable breakup\u003c/a> as they go on to pursue other projects. Their show at the Warfield might be the last time they play San Francisco in this incarnation.\u003c/p>\n\u003cfigure id=\"attachment_13905597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs at Outside Lands on Sunday, Oct. 31, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.theoaklandarena.com/events/detail/kehlani-1\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani\u003c/a>\u003c/h2>\n\u003cp>\u003ci>With Rico Nasty, Destin Conrad\u003cbr>\nOakland Arena, Oakland\u003cbr>\nSept. 30, 8pm\u003cbr>\n$49.50+\u003c/i>\u003c/p>\n\u003cp>It’s always a treat to see Kehlani at a hometown show, where fans who’ve been following the singer’s career since their days at Oakland School for the Arts sing along to every word. The Oakland-raised R&B star has spent the past few years maturing as a lyricist, and they’ve described their latest album, \u003ci>blue water road\u003c/i>, as a return to \u003ca href=\"https://youtu.be/mnlBRAV01C4\" target=\"_blank\" rel=\"noopener noreferrer\">making the kind of music they want to listen to\u003c/a> instead of satisfying the demands of the market. The more honest approach works. With understated, moody production and an emphasis on Kehlani’s gently raspy voice, \u003ci>blue water road\u003c/i> captivates with its vivid vignettes of “it’s complicated” situationships, queer desire, questionable decisions and budding romance. Even at a big arena show, Kehlani has a gift for connecting with their audience heart-to-heart.\u003c/p>\n\u003cfigure id=\"attachment_13917881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917881\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-1014882694-800x513.jpg\" alt=\"\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694-1020x654.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Colombian band Bomba Estereo perform during the ‘Jungla’ Tour at The Plaza Live on August 10, 2018 in Orlando, Florida. \u003ccite>(Gerardo Mora/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thegreekberkeley.com/events/bomba-estereo-221001\" target=\"_blank\" rel=\"noopener noreferrer\">Bomba Estéreo\u003c/a>\u003c/h2>\n\u003cp>\u003ci>The Greek Theatre, Berkeley\u003cbr>\nOct. 1, doors: 5:30pm, show: 7pm\u003cbr>\n$49.50+\u003c/i>\u003c/p>\n\u003cp>The mainstream music world recently got acquainted with Bomba Estéreo’s glittering, neon-lit pop when they featured on Bad Bunny’s new album, \u003ci>Un Verano Sin Ti\u003c/i>. The Colombian duo helped the Puerto Rican reggaeton star land a softer sound on “Ojitos Lindos,” but they’ve been combining indie pop with global rhythms since their debut in 2006. Their latest album, \u003ci>Deja\u003c/i>, mixes elements of salsa, cumbia and folk music with bright synths and propulsive grooves. Their Greek Theatre show promises a tropical dance party under the Northern California redwoods.\u003c/p>\n\u003cfigure id=\"attachment_13917882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917882\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-1062821540-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1062821540-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1062821540-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1062821540-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1062821540-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1062821540.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The English indie pop band Superorganism performs live at Circolo Magnolia Segrate in Milan, Italy on 15 November 2018. \u003ccite>(Roberto Finizio/NurPhoto via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.ticketweb.com/event/superorganism-the-ritz-tickets/11871255\" target=\"_blank\" rel=\"noopener noreferrer\">Superorganism\u003c/a>\u003c/h2>\n\u003cp>\u003ci>The Ritz, San Jose\u003cbr>\nOct. 19, 7pm\u003cbr>\n$20+\u003c/i>\u003cbr>\nSuperorganism’s songs bounce around with a hyperactive, childlike energy that unlocks listeners’ inner desire to play. (Case in point, their \u003ca href=\"https://www.youtube.com/watch?v=2K49QKVR0p0\" target=\"_blank\" rel=\"noopener noreferrer\">NPR Tiny Desk Concert\u003c/a> from back in 2018 included a band member whose job it was to blow bubbles and make splashing sounds in a bucket of water.) On their newest album, \u003ci>World Wide Pop\u003c/i>, the band takes on human unity in the face of alien invaders, space travel and more mundane topics like not fitting in with the latest trends. Their show at the Ritz should be a silly, good time that encourages us to expand our imaginations.\u003c/p>\n\u003cfigure id=\"attachment_13917883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917883\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-1241526079-800x522.jpg\" alt=\"\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1241526079-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1241526079-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1241526079-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1241526079-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1241526079.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The War On Drugs performing during the British Summer Time festival at Hyde Park in London on June 25, 2022. \u003ccite>(Ian West/PA Images via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.soundsummit.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Sound Summit: The War On Drugs, Faye Webster and More\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Mountain Theater, Mt. Tamalpais State Park, Mill Valley\u003cbr>\nOct. 22\u003cbr>\n$120+\u003c/i>\u003c/p>\n\u003cp>Bay Area music fans are lucky to have so many gorgeous parks that double as venues for live music. One of the lesser-known destinations is the summit of Mount Tam, a uniquely gorgeous, lush oasis with epic views of the Pacific Ocean and the entire Bay Area. Once a year, Sound Summit invites fans to enjoy some mellow indie rock on the peak as part of a fundraiser for Roots & Branches Conservancy, a nonprofit group dedicated to the preservation of natural gems like Mount Tam. This year’s headliners include The War On Drugs, alternative country singer Faye Webster, folk act Fruit Bats and Americana-soul sextet Wreckless Strangers.\u003c/p>\n\u003cfigure id=\"attachment_13870600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-800x450.jpg\" alt=\"EMPIRE artist Rexx Life Raj.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Rexx-Life-Raj-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Rexx-Life-Raj-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Rexx-Life-Raj-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Rexx-Life-Raj-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Rexx-Life-Raj-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Rexx-Life-Raj-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rexx Life Raj. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.ticketweb.com/event/rexx-life-raj-travis-thompson-august-hall-tickets/12233945?pl=august&edpPlParam=%3Fpl%3Daugust\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a>\u003c/h2>\n\u003cp>\u003ci>With Travis Thompson\u003cbr>\nAugust Hall, San Francisco\u003cbr>\nNov. 4, 7pm\u003cbr>\n$30+\u003c/i>\u003c/p>\n\u003cp>After two years of pandemic living and too many national crises to count, everyone is tired of pretending to be OK. Ever the savvy songwriter, Rexx Life Raj gives voice to the many messy stages of grief on \u003ca href=\"https://www.kqed.org/arts/13915940/rexx-life-raj-the-blue-hour-empire\">his latest album, \u003ci>The Blue Hour\u003c/i>\u003c/a>. The Berkeley-raised rap star penned it after he tragically lost both of his parents to health issues in 2021. As he began to open up about his grieving process, he received an outpouring of support from fans who also had something or someone to mourn—which, after the last two years, is a lot of us. The project illuminates one of Raj’s greatest strengths: finding life lessons in even the biggest difficulties and giving his listeners the motivation to keep pushing. His August Hall show is the last one of his \u003ci>Blue Hour\u003c/i> tour, and it should be a cathartic homecoming.\u003c/p>\n\u003cfigure id=\"attachment_13905555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905555\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Lizzo-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Lizzo-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Lizzo-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Lizzo-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo Performs at Outside Lands on Saturday, Oct. 30, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.chasecenter.com/events/lizzo-20221112\" target=\"_blank\" rel=\"noopener noreferrer\">Lizzo\u003c/a>\u003c/h2>\n\u003cp>\u003ci>With Latto\u003cbr>\nChase Center, San Francisco\u003cbr>\nNov. 12, doors: 7pm\u003cbr>\n$282+\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hit play on Lizzo’s latest album, \u003ci>Special\u003c/i>, (or any of her projects, really), and you’ll instantly feel like you’re a part of her fun, free-spirited girl squad, ready to take on the world. Her danceable, expansive pop brims with an infectious confidence, and champions female friendship rather than competition. Not to mention she puts on a killer show—few in entertainment can say they have the ability to twerk while playing the flute, or belt out soulful vocal runs while performing athletic choreography. Her Chase Center show should be a blast, and support from high-femme Atlanta rap star Latto will make it that much better.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>As a choreographer and as a trans person, Sean Dorsey felt irresistibly drawn to San Francisco. “It was this deep gut calling,” he says. “For so many trans and queer folks, San Francisco is the only place that we can live.” And yet, the city he moved to in the early 2000s was not the city he had envisioned.\u003c/p>\n\u003cp>“I thought, ‘This is it, I’m finally going to live in this city and meet the hundreds of other \u003cspan style=\"font-weight: 400\">transgender modern dance choreographers \u003c/span>\u003cspan style=\"font-weight: 400\">who must be living here,’” he recalls. “And there were none. There were trans hip-hop artists, visual artists, musicians, playwrights and writers. But when it came to trans modern dance choreographers or dancers, it was like crickets. And nobody was putting trans artists onstage.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg\" alt=\"Four dancers in magenta gowns perform modern dance choreography against pillars at a cliff overlooking the Pacific ocean in San Francisco, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol Simonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dorsey spent the next two decades championing trans and queer performing arts in the city, hand in hand with his life partner, the musician, filmmaker and transgender activist Shawna Virago. Their \u003ca href=\"https://www.freshmeatfest.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Festival\u003c/a> is in its 21st season of showcasing trans and queer performance; Sean Dorsey Dance has toured innovative modern dance to more than 30 cities in the U.S. and abroad; and accolades have arrived in the form of prestigious national awards, commissions and grants.\u003c/p>\n\u003cp>And while San Francisco has offered Dorsey fertile ground for artmaking, and a community hungry to see itself represented onstage, he has returned the favor by enriching the city’s awareness of itself. “San Francisco is this incredible epicenter of trans and queer history of resistance,” he says. New York City’s Stonewall gets all the glory, but it was in the Tenderloin at \u003ca href=\"https://www.youtube.com/watch?v=G-WASW9dRBU\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria \u003c/a>where drag queens and trans women of color first resisted police harassment and rioted for their rights, in August 1966—nearly three years before Stonewall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dorsey unearthed the city’s deep, rich, influential legacy of trans and queer lives in an epic dance-theater trilogy of \u003ci>\u003cspan style=\"font-weight: 400\">Uncovered: The Diary Project\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Secret History of Love\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Missing Generation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Theatrical, humorous, deeply compassionate and beautifully danced, those works made space for people of all identities to gather and truly see each other. “My goal is to make dances that people can relate to deeply and are transformed by in some way,” he says. “I want all of us to be breathing together, dreaming together, sharing compassion and story and embodiment.”\u003c/span>\u003c/p>\n\u003cp>That sense of hope is at the heart of Dorsey’s new work, \u003ca href=\"https://seandorseydance.com/works/the-lost-art-of-dreaming/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. It’s also the impetus for a new, forward-looking phase of Dorsey’s artistic life, focused on encouraging trans and nonbinary people to claim their right to a life they love. “So many trans people are told that we won’t have a future,” Dorsey says. “So many of us are discouraged from dreaming, are discouraged from imagining, finding love, finding community. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> invites us all to imagine expansive futures that are joyful and liberated, and in which we lift each other up with love.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg\" alt=\"Four dancers in blue and white gowns pose on a concrete sculpture resembling a bed on a grassy lawn situated near the San Francisco Bay\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol SImonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003cem>The Lost Art of\u003c/em> Dreaming\u003c/i>\u003cspan style=\"font-weight: 400\"> proposes a new paradigm through the embodied, kinesthetic art of dance. Dorsey’s modern choreography melds with the expressive dancers, spectacular couture costumes and an uninhibited, enthusiastic embrace of joy. Watching, you can sense the connection among the artists and between them and the city itself. “San Francisco is like a magical sanctuary,” Dorsey says. “It whispers to us from all across the country and around the world. Sean Dorsey Dance is by, of and for San Francisco. In this city, I stand on the shoulders of my Transcestors.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg\" alt=\"Four members of Sean Dorsey Dance are smiling and posing with filmmaker Lindsay Gauthier at the top of Twin Peaks with San Francisco's skyline behind them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey and his dance company pose with filmmaker Lindsay Gauthier at Twin Peaks in San Francisco on May 12, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Experience Dorsey and members of Sean Dorsey Dance perform excerpts from \u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in some of San Francisco’s most inspiring settings—\u003c/span>\u003cspan style=\"font-weight: 400\">Twin Peaks, Hillpoint Park, and the Cliff House above Ocean Beach– \u003c/span>\u003cspan style=\"font-weight: 400\">then go see them in person! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i> \u003ca href=\"https://seandorseydance.com/calendar/upcoming-events/\">\u003cspan style=\"font-weight: 400\">premieres\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> November 17–20 at Z Space. \u003cem>– Written by Claudia Bauer\u003c/em>\u003cbr>\n\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>As a choreographer and as a trans person, Sean Dorsey felt irresistibly drawn to San Francisco. “It was this deep gut calling,” he says. “For so many trans and queer folks, San Francisco is the only place that we can live.” And yet, the city he moved to in the early 2000s was not the city he had envisioned.\u003c/p>\n\u003cp>“I thought, ‘This is it, I’m finally going to live in this city and meet the hundreds of other \u003cspan style=\"font-weight: 400\">transgender modern dance choreographers \u003c/span>\u003cspan style=\"font-weight: 400\">who must be living here,’” he recalls. “And there were none. There were trans hip-hop artists, visual artists, musicians, playwrights and writers. But when it came to trans modern dance choreographers or dancers, it was like crickets. And nobody was putting trans artists onstage.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg\" alt=\"Four dancers in magenta gowns perform modern dance choreography against pillars at a cliff overlooking the Pacific ocean in San Francisco, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol Simonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dorsey spent the next two decades championing trans and queer performing arts in the city, hand in hand with his life partner, the musician, filmmaker and transgender activist Shawna Virago. Their \u003ca href=\"https://www.freshmeatfest.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Festival\u003c/a> is in its 21st season of showcasing trans and queer performance; Sean Dorsey Dance has toured innovative modern dance to more than 30 cities in the U.S. and abroad; and accolades have arrived in the form of prestigious national awards, commissions and grants.\u003c/p>\n\u003cp>And while San Francisco has offered Dorsey fertile ground for artmaking, and a community hungry to see itself represented onstage, he has returned the favor by enriching the city’s awareness of itself. “San Francisco is this incredible epicenter of trans and queer history of resistance,” he says. New York City’s Stonewall gets all the glory, but it was in the Tenderloin at \u003ca href=\"https://www.youtube.com/watch?v=G-WASW9dRBU\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria \u003c/a>where drag queens and trans women of color first resisted police harassment and rioted for their rights, in August 1966—nearly three years before Stonewall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dorsey unearthed the city’s deep, rich, influential legacy of trans and queer lives in an epic dance-theater trilogy of \u003ci>\u003cspan style=\"font-weight: 400\">Uncovered: The Diary Project\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Secret History of Love\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Missing Generation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Theatrical, humorous, deeply compassionate and beautifully danced, those works made space for people of all identities to gather and truly see each other. “My goal is to make dances that people can relate to deeply and are transformed by in some way,” he says. “I want all of us to be breathing together, dreaming together, sharing compassion and story and embodiment.”\u003c/span>\u003c/p>\n\u003cp>That sense of hope is at the heart of Dorsey’s new work, \u003ca href=\"https://seandorseydance.com/works/the-lost-art-of-dreaming/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. It’s also the impetus for a new, forward-looking phase of Dorsey’s artistic life, focused on encouraging trans and nonbinary people to claim their right to a life they love. “So many trans people are told that we won’t have a future,” Dorsey says. “So many of us are discouraged from dreaming, are discouraged from imagining, finding love, finding community. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> invites us all to imagine expansive futures that are joyful and liberated, and in which we lift each other up with love.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg\" alt=\"Four dancers in blue and white gowns pose on a concrete sculpture resembling a bed on a grassy lawn situated near the San Francisco Bay\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol SImonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003cem>The Lost Art of\u003c/em> Dreaming\u003c/i>\u003cspan style=\"font-weight: 400\"> proposes a new paradigm through the embodied, kinesthetic art of dance. Dorsey’s modern choreography melds with the expressive dancers, spectacular couture costumes and an uninhibited, enthusiastic embrace of joy. Watching, you can sense the connection among the artists and between them and the city itself. “San Francisco is like a magical sanctuary,” Dorsey says. “It whispers to us from all across the country and around the world. Sean Dorsey Dance is by, of and for San Francisco. In this city, I stand on the shoulders of my Transcestors.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg\" alt=\"Four members of Sean Dorsey Dance are smiling and posing with filmmaker Lindsay Gauthier at the top of Twin Peaks with San Francisco's skyline behind them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey and his dance company pose with filmmaker Lindsay Gauthier at Twin Peaks in San Francisco on May 12, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Experience Dorsey and members of Sean Dorsey Dance perform excerpts from \u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in some of San Francisco’s most inspiring settings—\u003c/span>\u003cspan style=\"font-weight: 400\">Twin Peaks, Hillpoint Park, and the Cliff House above Ocean Beach– \u003c/span>\u003cspan style=\"font-weight: 400\">then go see them in person! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i> \u003ca href=\"https://seandorseydance.com/calendar/upcoming-events/\">\u003cspan style=\"font-weight: 400\">premieres\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> November 17–20 at Z Space. \u003cem>– Written by Claudia Bauer\u003c/em>\u003cbr>\n\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Pride Celebrates in Defiance of Attacks on Reproductive, Trans Rights",
"headTitle": "SF Pride Celebrates in Defiance of Attacks on Reproductive, Trans Rights | KQED",
"content": "\u003cp>Although it became clear that the Supreme Court would overturn \u003cem>Roe v. Wade\u003c/em> when its draft opinion leaked in May, the advance notice didn’t make it easier to accept when the decision landed. We’ve entered a new, less free reality: Abortion is \u003ca href=\"https://www.washingtonpost.com/politics/2022/06/24/abortion-state-laws-criminalization-roe/\" target=\"_blank\" rel=\"noopener noreferrer\">now banned in 10 states\u003c/a>, and five more will ban it within the month. Furthermore, a section in the Supreme Court’s majority opinion \u003ca href=\"https://www.nytimes.com/2022/06/24/us/clarence-thomas-roe-griswold-lawrence-obergefell.html#:~:text=Justice%20Clarence%20Thomas%2C%20in%20his,overturn%20cases%20establishing%20rights%20to\" target=\"_blank\" rel=\"noopener noreferrer\">prompted fears about the rollback of other civil rights\u003c/a>, including marriage equality.\u003c/p>\n\u003cp>Palpable grief and anger swept the Bay Area on Friday as San Francisco headed into Pride weekend. But LGBTQ+ people didn’t cower in fear—they celebrated in defiance.\u003c/p>\n\u003cfigure id=\"attachment_13915264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the San Francisco Dyke March holds a sign that says, ‘Give us our Voices, Bodies, Rights Back’ on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915277\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Trans March makes its way along Market Street to a rally on Turk and Taylor in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As thousands of people joined the Trans March at Dolores Park on June 24, the day the ruling came down, a queer and trans drum ensemble kept a steady beat while the crowd chanted, “When our community is under attack, what do we do / Rise up, fight back!” Though \u003ci>Roe\u003c/i> is technically dead, and numerous states are \u003ca href=\"https://www.aclu.org/legislation-affecting-lgbtq-rights-across-country\" target=\"_blank\" rel=\"noopener noreferrer\">legislating against trans healthcare and other rights\u003c/a>, the Trans March didn’t feel like a funeral procession. Instead, it became a ritual transmuting rage into collective power and offering a prayer for the next generation.\u003c/p>\n\u003cp>As the march made its way downtown on Market Street, a girl who looked no older than 10 led a chant of “Hey hey, ho ho, transphobia has got to go.” As the Trans March converged with several abortion rights protests happening at the same time, there was a groundswell of energy as people chanted, “\u003ca href=\"https://twitter.com/nananastia/status/1540519789012996096\" target=\"_blank\" rel=\"noopener noreferrer\">Reproductive and trans rights / One struggle, one fight!\u003c/a>”\u003c/p>\n\u003cfigure id=\"attachment_13915274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915274\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt=\"Drummers amp up protesters during the Trans March.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Trans March makes its way along Market Street to a rally on Turk and Taylor in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915273\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt=\"A young girl leads a chant at the Trans March.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Trans March makes its way along Market Street to a rally on Turk and Taylor in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The march landed on the corner of Turk and Taylor Streets, arguably the birthplace of radical queer resistance in the Bay Area. Here, in 1966, trans women and drag queens rioted against police brutality at the now infamous \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 noreferrer\">Compton’s Cafeteria\u003c/a>—three years before Sylvia Rivera, Marsha P. Johnson and others did the same at the Stonewall Inn in New York City, kicking off the modern-day gay rights movement in 1969.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At Turk and Taylor, DJs played from a sound system aboard a school bus, and speakers included sex workers and socialist organizers. Everywhere you looked were baby pink and baby blue, the trans colors; and black, yellow and purple, the colors of the nonbinary flag. People of different gender expressions, ethnicities, class backgrounds and ages danced together to house music. By simply showing up as themselves, attendees affirmed that there’s no single, correct way to be trans—or any gender identity.\u003c/p>\n\u003cfigure id=\"attachment_13915272\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915272\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jupiter Peraza from the Transgender District and Honey Mahogany speak during the Trans March in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915270\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the Trans March fill Market Street in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While every few people at the trans march held protest signs, the Dyke March—which also took off from Dolores Park on Saturday, June 25—mostly made a political statement by way of joy, and making people feel seen and heard.\u003c/p>\n\u003cp>“Being together helps us heal,” an attendee told me as the march made its way back from the Castro. The women of the Dyke March cheered and waved to the people partying on their porches and playing disco in their front yards. After the march ended, everyone dispersed into Dolores Park, where hundreds of LGBTQ+ friend groups picnicked, drank and danced.\u003c/p>\n\u003cfigure id=\"attachment_13915261\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915261\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the San Francisco Dyke March make their way through the Mission District on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915268\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Dyke March fills Castro Street on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915267\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915267\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacy Poulos rides her Harley with Emily Burton on the back during the San Francisco Dyke March on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the big SF Pride parade on Sunday, June 26, social justice messages bubbled up amid the corporate-sponsored floats, politicians in convertibles, and typical characters like nudists and furries. Although the Pride organization \u003ca href=\"https://www.kqed.org/news/11917710/sfpd-officers-to-march-in-pride-amid-complicated-feelings-uniform-compromise\" target=\"_blank\" rel=\"noopener noreferrer\">agreed to have uniformed police officers march\u003c/a> (after initially banning them from the parade due to the history of police abuse against LGTBQ+ people), people marching alongside the San Francisco Public Defender’s office carried signs with abolitionist slogans. And DJ Black, one of the community Grand Marshals—or as she calls it, Grand Marshas—pulled up in a truck with signs like “Abort the Court” and “Housing for All.” [aside postid='arts_13912860']\u003c/p>\n\u003cp>At the celebration at Civic Center afterwards, San Francisco singer La Doña led the crowd in a chant of “fuck the court,” and the audience happily obliged while dancing to cumbia, hyphy and salsa music.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There’s a long fight ahead for those who believe in gender equality, bodily autonomy and reproductive rights. Pride provided a much-needed collective exhale, a gathering of strength through fun and community, as this new battle begins.\u003c/p>\n\u003cfigure id=\"attachment_13915265\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915265\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Dyke March makes its way through the Mission to the Castro District on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915280\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt='A woman holds a protest sign that reads \"Separation of church and state.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Trans March merged with an abortion rights rally in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915256\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915256\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Righteously Outrageous Twiring Corps perform during the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915266\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna Sopko waves from a window as the San Francisco Dyke March passes by on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915257\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drag queens Nicki Jizz, Heaven on Earth and Snaxx dance on the Oasis SF float during the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915255\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915255\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants fill Market Street during the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915254\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915254\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kai’lee Luckey (left) and Kaleonna Vang, both visiting from Sacramento, watch the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915282\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spectators line Market Street while cheering on participants at the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915283\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the University of California, Berkeley contingent cheer during the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915284\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of samba dancers and drummers participate in the Pride Parade on Market Street in San Francisco on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Though the Supreme Court's ruling prompted grief and anger, Pride weekend sent a message of solidarity.",
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"description": "Though the Supreme Court's ruling prompted grief and anger, Pride weekend sent a message of solidarity.",
"title": "SF Pride Celebrates in Defiance of Attacks on Reproductive, Trans Rights | KQED",
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"headline": "SF Pride Celebrates in Defiance of Attacks on Reproductive, Trans Rights",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Although it became clear that the Supreme Court would overturn \u003cem>Roe v. Wade\u003c/em> when its draft opinion leaked in May, the advance notice didn’t make it easier to accept when the decision landed. We’ve entered a new, less free reality: Abortion is \u003ca href=\"https://www.washingtonpost.com/politics/2022/06/24/abortion-state-laws-criminalization-roe/\" target=\"_blank\" rel=\"noopener noreferrer\">now banned in 10 states\u003c/a>, and five more will ban it within the month. Furthermore, a section in the Supreme Court’s majority opinion \u003ca href=\"https://www.nytimes.com/2022/06/24/us/clarence-thomas-roe-griswold-lawrence-obergefell.html#:~:text=Justice%20Clarence%20Thomas%2C%20in%20his,overturn%20cases%20establishing%20rights%20to\" target=\"_blank\" rel=\"noopener noreferrer\">prompted fears about the rollback of other civil rights\u003c/a>, including marriage equality.\u003c/p>\n\u003cp>Palpable grief and anger swept the Bay Area on Friday as San Francisco headed into Pride weekend. But LGBTQ+ people didn’t cower in fear—they celebrated in defiance.\u003c/p>\n\u003cfigure id=\"attachment_13915264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the San Francisco Dyke March holds a sign that says, ‘Give us our Voices, Bodies, Rights Back’ on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915277\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Trans March makes its way along Market Street to a rally on Turk and Taylor in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As thousands of people joined the Trans March at Dolores Park on June 24, the day the ruling came down, a queer and trans drum ensemble kept a steady beat while the crowd chanted, “When our community is under attack, what do we do / Rise up, fight back!” Though \u003ci>Roe\u003c/i> is technically dead, and numerous states are \u003ca href=\"https://www.aclu.org/legislation-affecting-lgbtq-rights-across-country\" target=\"_blank\" rel=\"noopener noreferrer\">legislating against trans healthcare and other rights\u003c/a>, the Trans March didn’t feel like a funeral procession. Instead, it became a ritual transmuting rage into collective power and offering a prayer for the next generation.\u003c/p>\n\u003cp>As the march made its way downtown on Market Street, a girl who looked no older than 10 led a chant of “Hey hey, ho ho, transphobia has got to go.” As the Trans March converged with several abortion rights protests happening at the same time, there was a groundswell of energy as people chanted, “\u003ca href=\"https://twitter.com/nananastia/status/1540519789012996096\" target=\"_blank\" rel=\"noopener noreferrer\">Reproductive and trans rights / One struggle, one fight!\u003c/a>”\u003c/p>\n\u003cfigure id=\"attachment_13915274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915274\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt=\"Drummers amp up protesters during the Trans March.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Trans March makes its way along Market Street to a rally on Turk and Taylor in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915273\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt=\"A young girl leads a chant at the Trans March.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Trans March makes its way along Market Street to a rally on Turk and Taylor in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The march landed on the corner of Turk and Taylor Streets, arguably the birthplace of radical queer resistance in the Bay Area. Here, in 1966, trans women and drag queens rioted against police brutality at the now infamous \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 noreferrer\">Compton’s Cafeteria\u003c/a>—three years before Sylvia Rivera, Marsha P. Johnson and others did the same at the Stonewall Inn in New York City, kicking off the modern-day gay rights movement in 1969.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At Turk and Taylor, DJs played from a sound system aboard a school bus, and speakers included sex workers and socialist organizers. Everywhere you looked were baby pink and baby blue, the trans colors; and black, yellow and purple, the colors of the nonbinary flag. People of different gender expressions, ethnicities, class backgrounds and ages danced together to house music. By simply showing up as themselves, attendees affirmed that there’s no single, correct way to be trans—or any gender identity.\u003c/p>\n\u003cfigure id=\"attachment_13915272\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915272\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jupiter Peraza from the Transgender District and Honey Mahogany speak during the Trans March in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915270\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the Trans March fill Market Street in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While every few people at the trans march held protest signs, the Dyke March—which also took off from Dolores Park on Saturday, June 25—mostly made a political statement by way of joy, and making people feel seen and heard.\u003c/p>\n\u003cp>“Being together helps us heal,” an attendee told me as the march made its way back from the Castro. The women of the Dyke March cheered and waved to the people partying on their porches and playing disco in their front yards. After the march ended, everyone dispersed into Dolores Park, where hundreds of LGBTQ+ friend groups picnicked, drank and danced.\u003c/p>\n\u003cfigure id=\"attachment_13915261\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915261\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the San Francisco Dyke March make their way through the Mission District on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915268\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Dyke March fills Castro Street on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915267\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915267\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacy Poulos rides her Harley with Emily Burton on the back during the San Francisco Dyke March on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the big SF Pride parade on Sunday, June 26, social justice messages bubbled up amid the corporate-sponsored floats, politicians in convertibles, and typical characters like nudists and furries. Although the Pride organization \u003ca href=\"https://www.kqed.org/news/11917710/sfpd-officers-to-march-in-pride-amid-complicated-feelings-uniform-compromise\" target=\"_blank\" rel=\"noopener noreferrer\">agreed to have uniformed police officers march\u003c/a> (after initially banning them from the parade due to the history of police abuse against LGTBQ+ people), people marching alongside the San Francisco Public Defender’s office carried signs with abolitionist slogans. And DJ Black, one of the community Grand Marshals—or as she calls it, Grand Marshas—pulled up in a truck with signs like “Abort the Court” and “Housing for All.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the celebration at Civic Center afterwards, San Francisco singer La Doña led the crowd in a chant of “fuck the court,” and the audience happily obliged while dancing to cumbia, hyphy and salsa music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a long fight ahead for those who believe in gender equality, bodily autonomy and reproductive rights. Pride provided a much-needed collective exhale, a gathering of strength through fun and community, as this new battle begins.\u003c/p>\n\u003cfigure id=\"attachment_13915265\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915265\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Dyke March makes its way through the Mission to the Castro District on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915280\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt='A woman holds a protest sign that reads \"Separation of church and state.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Trans March merged with an abortion rights rally in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915256\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915256\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Righteously Outrageous Twiring Corps perform during the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915266\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna Sopko waves from a window as the San Francisco Dyke March passes by on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915257\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drag queens Nicki Jizz, Heaven on Earth and Snaxx dance on the Oasis SF float during the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915255\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915255\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants fill Market Street during the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915254\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915254\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kai’lee Luckey (left) and Kaleonna Vang, both visiting from Sacramento, watch the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915282\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spectators line Market Street while cheering on participants at the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915283\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the University of California, Berkeley contingent cheer during the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915284\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of samba dancers and drummers participate in the Pride Parade on Market Street in San Francisco on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "50-years-ago-pflags-founder-marched-with-her-gay-son-hows-it-keeping-up-in-2022",
"title": "50 Years Ago, PFLAG's Founder Marched With Her Gay Son. How's it Keeping Up in 2022?",
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"content": "\u003cp>Jeanne Manford made headlines 50 years ago when she marched with her openly gay son at the Christopher Street Liberation Day Parade—\u003ca href=\"http://web-static.nypl.org/exhibitions/1969/christopher.html\" target=\"_blank\" rel=\"noopener noreferrer\">an early Pride event in New York City\u003c/a>. Such behavior from a straight mom was unheard of at the time.\u003c/p>\n\u003cp>The following year, Manford founded an organization for people like herself—\u003ca href=\"https://pflagsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">PFLAG,\u003c/a> which originally stood for Parents and Friends of Lesbians And Gays.\u003c/p>\n\u003cp>Over time, PFLAG became a leader in the fight for gay rights. It was a cherished source of support for thousands of families, especially throughout the AIDS epidemic in the 1980s. These days, Pride is a family event and PFLAG serves every member of the LGBTQIA community.\u003c/p>\n\u003cfigure id=\"attachment_13915154\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7-800x600.jpg\" alt=' A bespectacled woman dressed in conservative 1970s clothes smiles, as she walks through the street carrying a sign that says \"Parents of gays unite in support for our children.\" Behind her is a group of other men and women walking in formation.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7.jpg 1704w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeanne Manford marching in support of her son 50 years ago, at the Christopher Street Liberation Day Parade in 1972. \u003ccite>(PFLAG National)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The culture has changed in immeasurable ways, says PFLAG board member Kay Holladay. She remembers how in the early 1980s when her son came out to her, she did not know any gay people.\u003c/p>\n\u003cp>“I think my choir director at church probably was,” she says dryly. Her Southern Baptist church in Norman, Okla. did not accept LGBTQ members. “We had nobody to talk to. We had no other families. We had no resources.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Holladay and her husband felt lost and isolated. They went to the public library to educate themselves but found nothing of use. However, they read about PFLAG in the syndicated advice column \u003ca href=\"https://www.npr.org/2013/01/17/169627080/dear-reader-yes-theres-a-reason-people-asked-dear-abby-for-advice\" target=\"_blank\" rel=\"noopener noreferrer\">Dear Abby\u003c/a> and that inspired them to co-found a local chapter. This year, they were grand marshals of \u003ca href=\"https://www.normanokpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Norman’s Pride parade.\u003c/a>\u003c/p>\n\u003cp>PFLAG was shaped by people like the Holladays for others like themselves—a largely white demographic who desperately needed support in the days before Ellen DeGeneres and Anderson Cooper helped make the very idea of LGBTQ families mainstream. These days, coming out has become relatively painless for many kids from families like theirs. But it was not easy for Devin Green, a child of immigrants who grew up in Charlotte, N.C.\u003c/p>\n\u003cp>[aside postID='arts_13859570,arts_13859216,arts_13859162']“It was very nerve-racking,” the 19-year-old says of telling his parents he was trans. “Being Jamaican and having a relatively conservative upbringing, I just didn’t know what to expect.”\u003c/p>\n\u003cp>Green’s family attended a Southern Baptist church that taught a literal interpretation of the Bible. When he came out in ninth grade, Green’s mom was less than thrilled. Now, she is open and candid about her family’s journey. After all, says Claudette Green, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=204550149\" target=\"_blank\" rel=\"noopener noreferrer\">it started for her at home in Jamaica\u003c/a>, where she grew up hearing homophobic messages in church, on the news and in popular music.\u003c/p>\n\u003cp>“There were songs that glorified killing LGBTQ members,” she recalls. “There were actually laws on the books in Jamaica that you could go to jail if you were a member of the LGBTQ community.”\u003c/p>\n\u003cp>After Devin Green persuaded his mom to go to therapy, she was talked into attending a PFLAG meeting. “It was difficult for me because when I got there, I met families who were more accepting of their children and so I felt like a terrible parent,” she says. But Green was the opposite of a terrible parent. She and her kid talked. And most importantly, she listened. “Devin was an excellent teacher and I was a very good student,” she says.\u003c/p>\n\u003cp>And when the head of the local PFLAG chapter invited her out for coffee, she went. “She met me where I was,” Green says. “Going to PFLAG and seeing the love, it helped me dismantle some of the things I believed.”\u003c/p>\n\u003cp>Five years later, Green proudly marches in Pride parades. She’s changed her nursing career to focus on helping LGBTQ youth and she and her husband have supported other Caribbean families adjusting to LGBTQ kids. They’ve moved to a more affirming church and Green has just accepted a position on PFLAG’s Charlotte board.\u003c/p>\n\u003cfigure id=\"attachment_13915155\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915155\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/pflag-san-gabriel-valley-api-chapter_photo-credit-to-chapter-056a9bb43f4540f57cf1c97a47441c2b9a8ac7e0-800x600.jpg\" alt=\"A group of smiling and waving people in matching blue t-shirts lead a celebratory march through sunny streets. Rainbow flags are held aloft in the background.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/pflag-san-gabriel-valley-api-chapter_photo-credit-to-chapter-056a9bb43f4540f57cf1c97a47441c2b9a8ac7e0-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/pflag-san-gabriel-valley-api-chapter_photo-credit-to-chapter-056a9bb43f4540f57cf1c97a47441c2b9a8ac7e0-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/pflag-san-gabriel-valley-api-chapter_photo-credit-to-chapter-056a9bb43f4540f57cf1c97a47441c2b9a8ac7e0-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/pflag-san-gabriel-valley-api-chapter_photo-credit-to-chapter-056a9bb43f4540f57cf1c97a47441c2b9a8ac7e0.jpg 994w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Gabriel Valley’s Asian Pacific Islander chapter of PFLAG marches in support of LGBTQ friends and family at a recent Pride parade. \u003ccite>(PFLAG San Gabriel Valley API Chapter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, PFLAG’s executive director, \u003ca href=\"https://pflag.org/bio/brian-k-bond\" target=\"_blank\" rel=\"noopener noreferrer\">Brian Bond\u003c/a>, says his organization has a long way to go.\u003c/p>\n\u003cp>“It’s predominantly white,” he says. But PFLAG is trying he says, with bilingual literature and developing spaces where people with similar backgrounds and cultural competencies can support each other online. He is haunted, however, by the people PFLAG does not reach.\u003c/p>\n\u003cp>[aside postid='arts_13859408']Bond keeps a receipt in his wallet, he told NPR. It’s for the funeral of a 13-year-old trans kid who died by suicide a year and a half ago. His family had never heard of PFLAG. The organization paid for the child’s funeral anonymously.\u003c/p>\n\u003cp>“Interestingly enough, it was a state trooper that reached out to us,” Bond says. “And it’s not our job, but it’s what we needed to do in the moment. And making sure no family has to do that should be our ultimate goal.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Times have changed but in some ways, they haven’t. PFLAG has new battles to fight. For the first time, \u003ca href=\"https://pflag.org/press-releases/PFLAGvAbbott\" target=\"_blank\" rel=\"noopener noreferrer\">it’s become the plaintiff in a lawsuit\u003c/a>, against the state of Texas to protect trans kids and their parents fighting for affirmative health care.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=50+years+ago%2C+PFLAG%27s+founder+marched+with+her+gay+son.+How%27s+it+keeping+up+in+2022%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jeanne Manford made headlines 50 years ago when she marched with her openly gay son at the Christopher Street Liberation Day Parade—\u003ca href=\"http://web-static.nypl.org/exhibitions/1969/christopher.html\" target=\"_blank\" rel=\"noopener noreferrer\">an early Pride event in New York City\u003c/a>. Such behavior from a straight mom was unheard of at the time.\u003c/p>\n\u003cp>The following year, Manford founded an organization for people like herself—\u003ca href=\"https://pflagsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">PFLAG,\u003c/a> which originally stood for Parents and Friends of Lesbians And Gays.\u003c/p>\n\u003cp>Over time, PFLAG became a leader in the fight for gay rights. It was a cherished source of support for thousands of families, especially throughout the AIDS epidemic in the 1980s. These days, Pride is a family event and PFLAG serves every member of the LGBTQIA community.\u003c/p>\n\u003cfigure id=\"attachment_13915154\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7-800x600.jpg\" alt=' A bespectacled woman dressed in conservative 1970s clothes smiles, as she walks through the street carrying a sign that says \"Parents of gays unite in support for our children.\" Behind her is a group of other men and women walking in formation.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/jeanne-manford_christopher-street-liberation-day-march-062572_photo-credit-c.pflag-national-0ef4f9d12c869fcd3963d9fadcdcb9ac55a5d3a7.jpg 1704w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeanne Manford marching in support of her son 50 years ago, at the Christopher Street Liberation Day Parade in 1972. \u003ccite>(PFLAG National)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The culture has changed in immeasurable ways, says PFLAG board member Kay Holladay. She remembers how in the early 1980s when her son came out to her, she did not know any gay people.\u003c/p>\n\u003cp>“I think my choir director at church probably was,” she says dryly. Her Southern Baptist church in Norman, Okla. did not accept LGBTQ members. “We had nobody to talk to. We had no other families. We had no resources.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Holladay and her husband felt lost and isolated. They went to the public library to educate themselves but found nothing of use. However, they read about PFLAG in the syndicated advice column \u003ca href=\"https://www.npr.org/2013/01/17/169627080/dear-reader-yes-theres-a-reason-people-asked-dear-abby-for-advice\" target=\"_blank\" rel=\"noopener noreferrer\">Dear Abby\u003c/a> and that inspired them to co-found a local chapter. This year, they were grand marshals of \u003ca href=\"https://www.normanokpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Norman’s Pride parade.\u003c/a>\u003c/p>\n\u003cp>PFLAG was shaped by people like the Holladays for others like themselves—a largely white demographic who desperately needed support in the days before Ellen DeGeneres and Anderson Cooper helped make the very idea of LGBTQ families mainstream. These days, coming out has become relatively painless for many kids from families like theirs. But it was not easy for Devin Green, a child of immigrants who grew up in Charlotte, N.C.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It was very nerve-racking,” the 19-year-old says of telling his parents he was trans. “Being Jamaican and having a relatively conservative upbringing, I just didn’t know what to expect.”\u003c/p>\n\u003cp>Green’s family attended a Southern Baptist church that taught a literal interpretation of the Bible. When he came out in ninth grade, Green’s mom was less than thrilled. Now, she is open and candid about her family’s journey. After all, says Claudette Green, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=204550149\" target=\"_blank\" rel=\"noopener noreferrer\">it started for her at home in Jamaica\u003c/a>, where she grew up hearing homophobic messages in church, on the news and in popular music.\u003c/p>\n\u003cp>“There were songs that glorified killing LGBTQ members,” she recalls. “There were actually laws on the books in Jamaica that you could go to jail if you were a member of the LGBTQ community.”\u003c/p>\n\u003cp>After Devin Green persuaded his mom to go to therapy, she was talked into attending a PFLAG meeting. “It was difficult for me because when I got there, I met families who were more accepting of their children and so I felt like a terrible parent,” she says. But Green was the opposite of a terrible parent. She and her kid talked. And most importantly, she listened. “Devin was an excellent teacher and I was a very good student,” she says.\u003c/p>\n\u003cp>And when the head of the local PFLAG chapter invited her out for coffee, she went. “She met me where I was,” Green says. “Going to PFLAG and seeing the love, it helped me dismantle some of the things I believed.”\u003c/p>\n\u003cp>Five years later, Green proudly marches in Pride parades. She’s changed her nursing career to focus on helping LGBTQ youth and she and her husband have supported other Caribbean families adjusting to LGBTQ kids. They’ve moved to a more affirming church and Green has just accepted a position on PFLAG’s Charlotte board.\u003c/p>\n\u003cfigure id=\"attachment_13915155\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915155\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/pflag-san-gabriel-valley-api-chapter_photo-credit-to-chapter-056a9bb43f4540f57cf1c97a47441c2b9a8ac7e0-800x600.jpg\" alt=\"A group of smiling and waving people in matching blue t-shirts lead a celebratory march through sunny streets. Rainbow flags are held aloft in the background.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/pflag-san-gabriel-valley-api-chapter_photo-credit-to-chapter-056a9bb43f4540f57cf1c97a47441c2b9a8ac7e0-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/pflag-san-gabriel-valley-api-chapter_photo-credit-to-chapter-056a9bb43f4540f57cf1c97a47441c2b9a8ac7e0-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/pflag-san-gabriel-valley-api-chapter_photo-credit-to-chapter-056a9bb43f4540f57cf1c97a47441c2b9a8ac7e0-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/pflag-san-gabriel-valley-api-chapter_photo-credit-to-chapter-056a9bb43f4540f57cf1c97a47441c2b9a8ac7e0.jpg 994w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Gabriel Valley’s Asian Pacific Islander chapter of PFLAG marches in support of LGBTQ friends and family at a recent Pride parade. \u003ccite>(PFLAG San Gabriel Valley API Chapter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, PFLAG’s executive director, \u003ca href=\"https://pflag.org/bio/brian-k-bond\" target=\"_blank\" rel=\"noopener noreferrer\">Brian Bond\u003c/a>, says his organization has a long way to go.\u003c/p>\n\u003cp>“It’s predominantly white,” he says. But PFLAG is trying he says, with bilingual literature and developing spaces where people with similar backgrounds and cultural competencies can support each other online. He is haunted, however, by the people PFLAG does not reach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bond keeps a receipt in his wallet, he told NPR. It’s for the funeral of a 13-year-old trans kid who died by suicide a year and a half ago. His family had never heard of PFLAG. The organization paid for the child’s funeral anonymously.\u003c/p>\n\u003cp>“Interestingly enough, it was a state trooper that reached out to us,” Bond says. “And it’s not our job, but it’s what we needed to do in the moment. And making sure no family has to do that should be our ultimate goal.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Times have changed but in some ways, they haven’t. PFLAG has new battles to fight. For the first time, \u003ca href=\"https://pflag.org/press-releases/PFLAGvAbbott\" target=\"_blank\" rel=\"noopener noreferrer\">it’s become the plaintiff in a lawsuit\u003c/a>, against the state of Texas to protect trans kids and their parents fighting for affirmative health care.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=50+years+ago%2C+PFLAG%27s+founder+marched+with+her+gay+son.+How%27s+it+keeping+up+in+2022%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Whether or not you’re going to the official \u003ca href=\"https://sfpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Pride Parade\u003c/a> on June 26, \u003ca href=\"https://www.thedykemarch.org/\" target=\"_blank\" rel=\"noopener noreferrer\">the Dyke March\u003c/a> on June 25 or \u003ca href=\"https://www.transmarch.org/\" target=\"_blank\" rel=\"noopener noreferrer\">the Trans March\u003c/a> on the June 24, there’s so much to see and do all of Pride weekend in the Bay Area. It’s practically a holy time for the queer and trans LGBTQ+ nightlife scene—the marathon that DJs, performers, go-go dancers and drag artists train for all year. So get your look together, and prepare your dollar bills for tipping. These are the parties you need on your radar for Pride 2022.\u003c/p>\n\u003ch2>\u003ca href=\"https://juanitamore.com/pride\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE! Pride\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sunday, June 26, 12-7pm\u003cbr>\n620 Jones, San Francisco, $60-$75\u003c/em>\u003c/p>\n\u003cp>Juanita MORE! is San Francisco drag royalty. Not only has she performed in the city since the early ’90s, but she’s also a drag mother and grandmother who’s inducted numerous performers into the art form. She keeps up with a busy party schedule, puts out voter guides every election season and campaigns for issues and candidates that affect San Francisco’s LGBTQ+ community. (Most recently, she spoke out against progressive \u003ca href=\"https://twitter.com/chesaboudin/status/1522801675114745857\" target=\"_blank\" rel=\"noopener noreferrer\">District Attorney Chesa Boudin’s recall\u003c/a>.) [aside postid='arts_13835007']\u003c/p>\n\u003cp>For her annual Pride party, MORE! combines her nightlife savvy and passionate advocacy. This year, her 18th throwing the event, she’s celebrating with a soiree at 620 Jones that benefits the Q Foundation. The Q Foundation offers rent assistance to LGBTQ+ people and those living with HIV, and advocates for housing subsidies on the local, state and federal levels. At Jones, MORE! has curated a stellar DJ lineup that includes Poundcake (Booty Call Wednesdays, Pillows), Brown Amy (Hard French, Chulita Vinyl Club), Black (Lift, Tight, Dream EZ and Hella Gay), Kim Anh (Berlin’s Berghain Kantine, Wilde Renata’s ELSE and London’s Horse Meat Disco), and Vicki Powell (Sunday Service and Deep South).\u003c/p>\n\u003cfigure id=\"attachment_13914980\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914980\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200.jpg\" alt=\"Drag queen on all fours with crowd surrounding\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz at Princess. \u003ccite>(Rachel Ziegler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Princess Pride: \u003ca href=\"https://www.eventbrite.com/e/princess-pride-pink-saturday-w-san-cha-tickets-354660116957?_eboga=1986054935.1654715884\" target=\"_blank\" rel=\"noopener noreferrer\">Pink Saturday\u003c/a> & \u003ca href=\"https://www.eventbrite.com/e/princess-x-oasis-pride-sunday-w-raja-kevin-aviance-tickets-354669164017?_eboga=1986054935.1654715884\" target=\"_blank\" rel=\"noopener noreferrer\">Pride Sunday\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Saturday, June 25, 10pm and Sunday, June 26, 9pm\u003cbr>\nOasis, San Francisco, $20\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The glittering disco and drag party Princess takes over Oasis for the entirety of Pride weekend. The Pink Saturday edition features San Cha as the headliner. The Los Angeles-based singer came up in San Francisco’s drag scene, and her live shows mix the sweet sounds of her queer rancheras with wildly sex-positive performance art antics.\u003c/p>\n\u003cp>Joining San Cha is a lineup of San Francisco drag greats that includes Glamamore (a veteran performer who is also Juanita MORE!’s fashion designer), Per Sia, Oasis owner D’arcy Drollinger, 2022 Drag Queen of the Year pageant winner Militia Scunt, Reparations party founder Nicki Jizz, drag king Madd Dogg 20/20 and more. DJ Rubella Spreads will be behind the decks, with go-go dancers Mary Vice, Heaven On Earth and The.Little.King hyping the crowd all night.\u003c/p>\n\u003cp>The fun continues with another extravaganza on Pride Sunday, this time starring \u003ci>RuPaul’s Drag Race\u003c/i> winner Raja and drag shows every half hour by Psueda, House of Cakes, Lisa Frankenstein, Kochina Rude, Vera!, Rubella and Cheetah Biscotti, and a DJ set by singer and fashion designer Kevin Aviance.\u003c/p>\n\u003cp>https://www.instagram.com/p/CeUdhfQvbBL/\u003c/p>\n\u003ch2>\u003ca href=\"https://www.tickettailor.com/events/soulovely2/714019\" target=\"_blank\" rel=\"noopener noreferrer\">Soulovely: Black Liberation Nation\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sunday, Jun 26, 3:30–8:30pm\u003cbr>\n7th West, Oakland, $15-$30\u003c/em>\u003c/p>\n\u003cp>Soulovely, a party by and centering queer women of color, is a welcome staple in Oakland each warm-weather season. Helmed by hip-hop artist Aima the Dreamer and DJs Lady Ryan and Emancipacion, Soulovely is celebrating its 10th anniversary this year. The event brings together an intergenerational crowd for a laidback dance party in the sunshine. Dancers might electric slide to an R&B classic like Luther Vandross’ “Never Too Much” one minute and drop it low to Megan Thee Stallion the next. Afrobeats, salsa, hyphy have been known to make their way into the mix—all the music is danceable and feel-good, but there are no rules. Soulovely celebrates Pride this month with the theme Black Liberation Nation and guest DJ Lexapeel.\u003c/p>\n\u003cfigure id=\"attachment_13899476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899476\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Black plays music from a bus during the People’s March and Rally on Polk Street heading toward City Hall in San Francisco on June 27, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/p/CepDt5avGw2/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Black’s Official Pride Party: The Black Rainbow\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sunday, June 26, 8pm–4am\u003cbr>\nBrix and Oakland Secret, Oakland, $15-$30\u003c/em>\u003c/p>\n\u003cp>Known as the “mother of all DJs” for her generosity and mentorship, Black was voted San Francisco Pride’s Community Grand Marshall this year. She prefers to call herself the Grand Marsha in homage to Marsha P. Johnson, the revolutionary trans activist who paved the way for the modern-day LGBTQ+ rights movement since the Stonewall uprising against police brutality in 1969. [aside postid='arts_13913584']\u003c/p>\n\u003cp>Black has been active as a DJ since the early ’90s, and her A.B.L.U.N.T. and Herstory crews threw parties that centered queer women of color at a time when the queer party scene was notoriously not inclusive. To celebrate the community that got her to this SF Pride milestone, Black is hosting two simultaneous Pride parties next door to one another, at Brix and Oakland Secret. In addition to Black herself, DJs Guerrilla Pump, Fiera, Trilce, Archangel, Young Ella Baker, Honeybear, 3babyBlue, Kqeek Uneek, Blossom 007, DJ Romii and DJ Align will be in the mix.\u003c/p>\n\u003cp>https://youtu.be/KKDB0MG3hfk\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/mighty-real-pride-weekender-tickets-307641342537\" target=\"_blank\" rel=\"noopener noreferrer\">Mighty Real Pride Weekender\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 25 and 26, 12pm-7pm\u003cbr>\nThe Phoenix Hotel, San Francisco $20-$150\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>House music by the pool at a mid-century San Francisco hotel is an ideal vibe. The popular Mighty Real Pride returns to the Phoenix Hotel, this time as a weekend-long event with day parties Saturday and Sunday and an after party Sunday night. Saturday features headlining sets from David Morales and Derrick Johnson, both OG DJs who helped take house music from an underground, queer subculture to a global movement. The Bay Area’s own David Harness and Nina Sol join them on the bill; Harness helped popularize house in the Bay Area in the early ’90s as a DJ on KMEL’s Yo Momma’s House, and remains one of the most sought-after DJs in the scene. DJ Heather, hailed as one of the most important women in dance music history, headlines Sunday’s pool party, along with Tedd Patterson, Robin S., David Harness and a back-to-back set with Jeremy Rosebrook and Jimmy Depre.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether or not you’re going to the official \u003ca href=\"https://sfpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Pride Parade\u003c/a> on June 26, \u003ca href=\"https://www.thedykemarch.org/\" target=\"_blank\" rel=\"noopener noreferrer\">the Dyke March\u003c/a> on June 25 or \u003ca href=\"https://www.transmarch.org/\" target=\"_blank\" rel=\"noopener noreferrer\">the Trans March\u003c/a> on the June 24, there’s so much to see and do all of Pride weekend in the Bay Area. It’s practically a holy time for the queer and trans LGBTQ+ nightlife scene—the marathon that DJs, performers, go-go dancers and drag artists train for all year. So get your look together, and prepare your dollar bills for tipping. These are the parties you need on your radar for Pride 2022.\u003c/p>\n\u003ch2>\u003ca href=\"https://juanitamore.com/pride\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE! Pride\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sunday, June 26, 12-7pm\u003cbr>\n620 Jones, San Francisco, $60-$75\u003c/em>\u003c/p>\n\u003cp>Juanita MORE! is San Francisco drag royalty. Not only has she performed in the city since the early ’90s, but she’s also a drag mother and grandmother who’s inducted numerous performers into the art form. She keeps up with a busy party schedule, puts out voter guides every election season and campaigns for issues and candidates that affect San Francisco’s LGBTQ+ community. (Most recently, she spoke out against progressive \u003ca href=\"https://twitter.com/chesaboudin/status/1522801675114745857\" target=\"_blank\" rel=\"noopener noreferrer\">District Attorney Chesa Boudin’s recall\u003c/a>.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For her annual Pride party, MORE! combines her nightlife savvy and passionate advocacy. This year, her 18th throwing the event, she’s celebrating with a soiree at 620 Jones that benefits the Q Foundation. The Q Foundation offers rent assistance to LGBTQ+ people and those living with HIV, and advocates for housing subsidies on the local, state and federal levels. At Jones, MORE! has curated a stellar DJ lineup that includes Poundcake (Booty Call Wednesdays, Pillows), Brown Amy (Hard French, Chulita Vinyl Club), Black (Lift, Tight, Dream EZ and Hella Gay), Kim Anh (Berlin’s Berghain Kantine, Wilde Renata’s ELSE and London’s Horse Meat Disco), and Vicki Powell (Sunday Service and Deep South).\u003c/p>\n\u003cfigure id=\"attachment_13914980\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914980\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200.jpg\" alt=\"Drag queen on all fours with crowd surrounding\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rachelzphotographyllc-15_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz at Princess. \u003ccite>(Rachel Ziegler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Princess Pride: \u003ca href=\"https://www.eventbrite.com/e/princess-pride-pink-saturday-w-san-cha-tickets-354660116957?_eboga=1986054935.1654715884\" target=\"_blank\" rel=\"noopener noreferrer\">Pink Saturday\u003c/a> & \u003ca href=\"https://www.eventbrite.com/e/princess-x-oasis-pride-sunday-w-raja-kevin-aviance-tickets-354669164017?_eboga=1986054935.1654715884\" target=\"_blank\" rel=\"noopener noreferrer\">Pride Sunday\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Saturday, June 25, 10pm and Sunday, June 26, 9pm\u003cbr>\nOasis, San Francisco, $20\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The glittering disco and drag party Princess takes over Oasis for the entirety of Pride weekend. The Pink Saturday edition features San Cha as the headliner. The Los Angeles-based singer came up in San Francisco’s drag scene, and her live shows mix the sweet sounds of her queer rancheras with wildly sex-positive performance art antics.\u003c/p>\n\u003cp>Joining San Cha is a lineup of San Francisco drag greats that includes Glamamore (a veteran performer who is also Juanita MORE!’s fashion designer), Per Sia, Oasis owner D’arcy Drollinger, 2022 Drag Queen of the Year pageant winner Militia Scunt, Reparations party founder Nicki Jizz, drag king Madd Dogg 20/20 and more. DJ Rubella Spreads will be behind the decks, with go-go dancers Mary Vice, Heaven On Earth and The.Little.King hyping the crowd all night.\u003c/p>\n\u003cp>The fun continues with another extravaganza on Pride Sunday, this time starring \u003ci>RuPaul’s Drag Race\u003c/i> winner Raja and drag shows every half hour by Psueda, House of Cakes, Lisa Frankenstein, Kochina Rude, Vera!, Rubella and Cheetah Biscotti, and a DJ set by singer and fashion designer Kevin Aviance.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch2>\u003ca href=\"https://www.tickettailor.com/events/soulovely2/714019\" target=\"_blank\" rel=\"noopener noreferrer\">Soulovely: Black Liberation Nation\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sunday, Jun 26, 3:30–8:30pm\u003cbr>\n7th West, Oakland, $15-$30\u003c/em>\u003c/p>\n\u003cp>Soulovely, a party by and centering queer women of color, is a welcome staple in Oakland each warm-weather season. Helmed by hip-hop artist Aima the Dreamer and DJs Lady Ryan and Emancipacion, Soulovely is celebrating its 10th anniversary this year. The event brings together an intergenerational crowd for a laidback dance party in the sunshine. Dancers might electric slide to an R&B classic like Luther Vandross’ “Never Too Much” one minute and drop it low to Megan Thee Stallion the next. Afrobeats, salsa, hyphy have been known to make their way into the mix—all the music is danceable and feel-good, but there are no rules. Soulovely celebrates Pride this month with the theme Black Liberation Nation and guest DJ Lexapeel.\u003c/p>\n\u003cfigure id=\"attachment_13899476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899476\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Black plays music from a bus during the People’s March and Rally on Polk Street heading toward City Hall in San Francisco on June 27, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/p/CepDt5avGw2/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Black’s Official Pride Party: The Black Rainbow\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sunday, June 26, 8pm–4am\u003cbr>\nBrix and Oakland Secret, Oakland, $15-$30\u003c/em>\u003c/p>\n\u003cp>Known as the “mother of all DJs” for her generosity and mentorship, Black was voted San Francisco Pride’s Community Grand Marshall this year. She prefers to call herself the Grand Marsha in homage to Marsha P. Johnson, the revolutionary trans activist who paved the way for the modern-day LGBTQ+ rights movement since the Stonewall uprising against police brutality in 1969. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Black has been active as a DJ since the early ’90s, and her A.B.L.U.N.T. and Herstory crews threw parties that centered queer women of color at a time when the queer party scene was notoriously not inclusive. To celebrate the community that got her to this SF Pride milestone, Black is hosting two simultaneous Pride parties next door to one another, at Brix and Oakland Secret. In addition to Black herself, DJs Guerrilla Pump, Fiera, Trilce, Archangel, Young Ella Baker, Honeybear, 3babyBlue, Kqeek Uneek, Blossom 007, DJ Romii and DJ Align will be in the mix.\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/KKDB0MG3hfk'\n title='//www.youtube.com/embed/KKDB0MG3hfk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/mighty-real-pride-weekender-tickets-307641342537\" target=\"_blank\" rel=\"noopener noreferrer\">Mighty Real Pride Weekender\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 25 and 26, 12pm-7pm\u003cbr>\nThe Phoenix Hotel, San Francisco $20-$150\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>House music by the pool at a mid-century San Francisco hotel is an ideal vibe. The popular Mighty Real Pride returns to the Phoenix Hotel, this time as a weekend-long event with day parties Saturday and Sunday and an after party Sunday night. Saturday features headlining sets from David Morales and Derrick Johnson, both OG DJs who helped take house music from an underground, queer subculture to a global movement. The Bay Area’s own David Harness and Nina Sol join them on the bill; Harness helped popularize house in the Bay Area in the early ’90s as a DJ on KMEL’s Yo Momma’s House, and remains one of the most sought-after DJs in the scene. DJ Heather, hailed as one of the most important women in dance music history, headlines Sunday’s pool party, along with Tedd Patterson, Robin S., David Harness and a back-to-back set with Jeremy Rosebrook and Jimmy Depre.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In a World of Flashy IPAs, the Humble Lager Gets Its Due",
"headTitle": "In a World of Flashy IPAs, the Humble Lager Gets Its Due | KQED",
"content": "\u003cp>In the bitter, hop-heavy world of American craft beer, Richmond’s \u003ca href=\"https://www.eastbrotherbeer.com/home-1\" rel=\"noopener noreferrer\" target=\"_blank\">East Brother Beer Company\u003c/a> has always been a bit of an outlier. Its most popular beers are its lighter, more refreshing brews—its lagers, its Bohemian-style pilsner. Meanwhile, co-founder Rob Lightner says, if you go to any random brewery in any major metropolitan area in the United States, it’s almost shocking if the place doesn’t have a dozen IPAs on tap. \u003c/p>\n\u003cp>In that sense, East Brother has zigged while many others zagged. Now, the brewery has created a new beer festival that is a manifesto of sorts. On Saturday, June 18, it will host its first lager festival, dubbed the \u003ca href=\"https://www.eastbrotherbeer.com/beerfestival\" target=\"_blank\" rel=\"noopener noreferrer\">Pride + Purpose Beer Festival\u003c/a>—to Lightner’s knowledge, the first-ever Bay Area beer festival specifically focused on lagers. It’ll be a day-long celebration of the style, with 25 Northern California breweries on hand to show off their version of what Lightner calls the quintessential “working person’s beer.”\u003c/p>\n\u003cp>[aside postID='arts_13914400,arts_13902507']To be clear, Lightner says, East Brother sells IPAs, too, and it’s not a mystery why breweries carry so many of them: “People love them.” The craft beer movement itself started largely as a sort of reaction to the watery mass-market lagers from companies like Coors and Anheuser-Busch. But as much as Lightner appreciates the hoppy, intensely flavorful—and often bitter—IPAs that dominate the craft beer market, he and the rest of the East Brother staff have always loved drinking a crisp, classic lager. \u003c/p>\n\u003cp>These days, East Brother’s bestsellers are its Vienna-style red lager and its Bohemian pilsner (another light, crisp style). The brewery also has an ongoing seasonal lager series, introducing a new variation every three months.\u003c/p>\n\u003cp>The appeal of a lager is manyfold: Its lighter flavor and lower alcohol content tends to complement different types of food instead of competing with them. Lagers aren’t precious in the same way that a lot of craft beer culture can be—people don’t come to East Brother to “discuss” the beer. And it’s for good reason, Lightner says, that lagers have long been the beer of choice for working-class people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It starts with economics, right?” Lightner says, pointing out that a four-pack of a trendy double hazy IPA might sell for $25 at the grocery store. Lagers, as a general rule, are more affordable. And then there’s the idea of what kind of beer a person is going to want to drink after a long day doing manual labor or any kind of hard work. \u003c/p>\n\u003cp>“If you want something thirst-quenching, what are you going to choose? A drinkable, crisp lager that’s 4.5% ABV or a double-hopped IPA that’s 8.5%?” Lightner says. “I think [a lager] just lends itself more to work—and the rewards of work.” \u003c/p>\n\u003cfigure id=\"attachment_13914897\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/eastbrother_lager.jpg\" alt='Man pours beer into a glass from a can; the beer label reads \"Sixth & Canal.\"' width=\"1800\" height=\"1013\" class=\"size-full wp-image-13914897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/eastbrother_lager.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/eastbrother_lager-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/eastbrother_lager-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/eastbrother_lager-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/eastbrother_lager-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/eastbrother_lager-1536x864.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">The Sixth & Canal, a collaborative beer between East Brother Beer Co. and Fieldworks Brewing, will be one of more than 30 lagers that will be poured at this weekend’s Pride + Purpose Beer Festival. \u003ccite>(East Brother Beer Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, East Brother isn’t exactly reinventing the wheel here. Lightner estimates that 85 to 90% of the beer that’s sold around the world consists of lagers. People in India and Japan are mostly drinking lagers. The world’s best-selling beer by far—China’s \u003ca href=\"https://vinepair.com/articles/10-biggest-beer-brands-world-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">Snow\u003c/a>—is a lager. And now that American craft breweries are starting to take lagers more seriously, it seemed like the perfect time to put together a festival that would give the beer style its due. \u003c/p>\n\u003cp>Attendees at Saturday’s festival will have access to all the lagers they can drink from 25 different Northern California breweries, which run the gamut from big names like Drake’s, Trumer Pils and Russian River Brewing to a handful of lesser known \u003ca href=\"https://www.eventbrite.com/e/pride-purpose-beer-festival-tickets-313778007467\" target=\"_blank\" rel=\"noopener noreferrer\">local favorites\u003c/a>. There will be food, too, courtesy of food trucks like \u003ca href=\"https://www.instagram.com/cevicheandco/\" target=\"_blank\" rel=\"noopener noreferrer\">Ceviche & Co\u003c/a>, Crack Crab and the birria specialist \u003ca href=\"https://www.la-santa-torta.com/\" target=\"_blank\" rel=\"noopener noreferrer\">La Santa Torta\u003c/a>. And VIP ticket holders will also have access to a couple of different discussion panels, including one that digs deeper into the lager’s history as a working person’s beer. \u003c/p>\n\u003cp>Even the festival’s charitable cause will tie into that labor theme: All profits will support Richmond’s \u003ca href=\"https://rosietheriveter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rosie the Riveter Trust\u003c/a>, a nonprofit that builds on the legacy of the original “Rosies”—the diverse group of women who worked together in shipyards and factories on the American home front during World War II. Today, the organization focuses on \u003ca href=\"https://rosietheriveter.org/pages/youth-education-programs\" target=\"_blank\" rel=\"noopener noreferrer\">outdoor education and building career skills for girls and transgender and non-binary youth\u003c/a>.\u003c/p>\n\u003cp>“[The Rosies] kind of represent all that’s good—coming together for a cause, overcoming racial and gender discrimination,” Lightner says. A few of the original Rosies, who are now in their 90s, will be on hand to meet and greet lager festival attendees.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>\u003ci>The Pride + Purpose Beer Festival takes place on Saturday, June 18, from 1–5 pm at East Brother Beer Company (1001 Canal Blvd., #C2, Richmond). \u003ca href=\"https://www.eventbrite.com/e/pride-purpose-beer-festival-tickets-313778007467\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets\u003c/a> are $60 and include unlimited beer tastings.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the bitter, hop-heavy world of American craft beer, Richmond’s \u003ca href=\"https://www.eastbrotherbeer.com/home-1\" rel=\"noopener noreferrer\" target=\"_blank\">East Brother Beer Company\u003c/a> has always been a bit of an outlier. Its most popular beers are its lighter, more refreshing brews—its lagers, its Bohemian-style pilsner. Meanwhile, co-founder Rob Lightner says, if you go to any random brewery in any major metropolitan area in the United States, it’s almost shocking if the place doesn’t have a dozen IPAs on tap. \u003c/p>\n\u003cp>In that sense, East Brother has zigged while many others zagged. Now, the brewery has created a new beer festival that is a manifesto of sorts. On Saturday, June 18, it will host its first lager festival, dubbed the \u003ca href=\"https://www.eastbrotherbeer.com/beerfestival\" target=\"_blank\" rel=\"noopener noreferrer\">Pride + Purpose Beer Festival\u003c/a>—to Lightner’s knowledge, the first-ever Bay Area beer festival specifically focused on lagers. It’ll be a day-long celebration of the style, with 25 Northern California breweries on hand to show off their version of what Lightner calls the quintessential “working person’s beer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To be clear, Lightner says, East Brother sells IPAs, too, and it’s not a mystery why breweries carry so many of them: “People love them.” The craft beer movement itself started largely as a sort of reaction to the watery mass-market lagers from companies like Coors and Anheuser-Busch. But as much as Lightner appreciates the hoppy, intensely flavorful—and often bitter—IPAs that dominate the craft beer market, he and the rest of the East Brother staff have always loved drinking a crisp, classic lager. \u003c/p>\n\u003cp>These days, East Brother’s bestsellers are its Vienna-style red lager and its Bohemian pilsner (another light, crisp style). The brewery also has an ongoing seasonal lager series, introducing a new variation every three months.\u003c/p>\n\u003cp>The appeal of a lager is manyfold: Its lighter flavor and lower alcohol content tends to complement different types of food instead of competing with them. Lagers aren’t precious in the same way that a lot of craft beer culture can be—people don’t come to East Brother to “discuss” the beer. And it’s for good reason, Lightner says, that lagers have long been the beer of choice for working-class people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It starts with economics, right?” Lightner says, pointing out that a four-pack of a trendy double hazy IPA might sell for $25 at the grocery store. Lagers, as a general rule, are more affordable. And then there’s the idea of what kind of beer a person is going to want to drink after a long day doing manual labor or any kind of hard work. \u003c/p>\n\u003cp>“If you want something thirst-quenching, what are you going to choose? A drinkable, crisp lager that’s 4.5% ABV or a double-hopped IPA that’s 8.5%?” Lightner says. “I think [a lager] just lends itself more to work—and the rewards of work.” \u003c/p>\n\u003cfigure id=\"attachment_13914897\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/eastbrother_lager.jpg\" alt='Man pours beer into a glass from a can; the beer label reads \"Sixth & Canal.\"' width=\"1800\" height=\"1013\" class=\"size-full wp-image-13914897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/eastbrother_lager.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/eastbrother_lager-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/eastbrother_lager-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/eastbrother_lager-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/eastbrother_lager-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/eastbrother_lager-1536x864.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">The Sixth & Canal, a collaborative beer between East Brother Beer Co. and Fieldworks Brewing, will be one of more than 30 lagers that will be poured at this weekend’s Pride + Purpose Beer Festival. \u003ccite>(East Brother Beer Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, East Brother isn’t exactly reinventing the wheel here. Lightner estimates that 85 to 90% of the beer that’s sold around the world consists of lagers. People in India and Japan are mostly drinking lagers. The world’s best-selling beer by far—China’s \u003ca href=\"https://vinepair.com/articles/10-biggest-beer-brands-world-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">Snow\u003c/a>—is a lager. And now that American craft breweries are starting to take lagers more seriously, it seemed like the perfect time to put together a festival that would give the beer style its due. \u003c/p>\n\u003cp>Attendees at Saturday’s festival will have access to all the lagers they can drink from 25 different Northern California breweries, which run the gamut from big names like Drake’s, Trumer Pils and Russian River Brewing to a handful of lesser known \u003ca href=\"https://www.eventbrite.com/e/pride-purpose-beer-festival-tickets-313778007467\" target=\"_blank\" rel=\"noopener noreferrer\">local favorites\u003c/a>. There will be food, too, courtesy of food trucks like \u003ca href=\"https://www.instagram.com/cevicheandco/\" target=\"_blank\" rel=\"noopener noreferrer\">Ceviche & Co\u003c/a>, Crack Crab and the birria specialist \u003ca href=\"https://www.la-santa-torta.com/\" target=\"_blank\" rel=\"noopener noreferrer\">La Santa Torta\u003c/a>. And VIP ticket holders will also have access to a couple of different discussion panels, including one that digs deeper into the lager’s history as a working person’s beer. \u003c/p>\n\u003cp>Even the festival’s charitable cause will tie into that labor theme: All profits will support Richmond’s \u003ca href=\"https://rosietheriveter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rosie the Riveter Trust\u003c/a>, a nonprofit that builds on the legacy of the original “Rosies”—the diverse group of women who worked together in shipyards and factories on the American home front during World War II. Today, the organization focuses on \u003ca href=\"https://rosietheriveter.org/pages/youth-education-programs\" target=\"_blank\" rel=\"noopener noreferrer\">outdoor education and building career skills for girls and transgender and non-binary youth\u003c/a>.\u003c/p>\n\u003cp>“[The Rosies] kind of represent all that’s good—coming together for a cause, overcoming racial and gender discrimination,” Lightner says. A few of the original Rosies, who are now in their 90s, will be on hand to meet and greet lager festival attendees.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>\u003ci>The Pride + Purpose Beer Festival takes place on Saturday, June 18, from 1–5 pm at East Brother Beer Company (1001 Canal Blvd., #C2, Richmond). \u003ca href=\"https://www.eventbrite.com/e/pride-purpose-beer-festival-tickets-313778007467\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets\u003c/a> are $60 and include unlimited beer tastings.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Rodney Barnette first moved to San Francisco in 1969, he noticed that “it wasn’t all rah rah gay capital of the world.” His experiences with racism in San Francisco’s historic gay community led him to open the New Eagle Creek Saloon, the city’s first Black-owned gay bar, in 1990. Over 30 years later, Barnette speaks about why Black-affirming queer spaces are still needed, and what he took away from his experience operating one.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5125278989\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of the episode with Rodney Barnette and his daughter Sadie Barnette.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: Tell me about your first time getting adjusted to the gay community here in San Francisco.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: When I first moved here, it wasn’t known as the gay capital of the United States. Most of the activity was on Polk Street, but eventually things shifted to the Castro district. They started opening more restaurants … and the more white gay men that came, the more racist it got. That’s when we started getting carded, three pieces of I.D. to go in these bars. The bartender, they were always white and they would bypass you. Some of them had goons as security guards. There were fights that broke out at places that I went to that got so humiliating that I swore I would not go back because it can be dangerous for me or somebody else to be there.\u003c/p>\n\u003cp>You know, things were so bad that they even created racist language to depict if a white gay guy had Black gay friends or was attracted to Black people. They came up with the term Dinge queen—Dinge means dirty. That’s how thorough the racism was.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: (narration) We brunch now, but back in the day, the bars were the cornerstone of the queer social scene … How are you supposed to feel welcome in a community if you have to defend your humanity every time you go out? \u003c/em>\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: Eventually you got the impetus to start to own a bar, to start a bar. But where did it come from?\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: There was a bar back in the 70s that Black people felt comfortable going to. It was not in the Castro, It was called Bojangles. But … when we left the bar, the San Francisco Police Department was waiting outside with paddy wagons and arresting Black gay people who were standing around talking, trying to exchange numbers. So you always felt like you had to almost run to get away from being arrested.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: You told me a story earlier about Deniece Williams at a bar.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: She had a new album out, and it was so beautiful. It turned out that she was going to be performing at one of these bars up in North Beach. And we had already had bad experiences trying to get in there, carding us with three pieces of I.D. and dress codes, so we never really went there. But we said, OK, we’re going to go see Deniece Williams. Deniece Williams came out and she started performing and singing beautiful songs, and we started clapping and cheering and then between songs, she said, ‘Wow, you guys really liked the music. I can see that you’re responding. How come there aren’t more people here?’ And almost in unison we all said, ‘Because it’s a racist gay bar.’ It’s not that she wasn’t popular, there were things restricting access to her performance.\u003c/p>\n\u003cp>Rodney Barnette: I felt like we had an opportunity to make a difference in the community. I always knew that there weren’t any Black-owned gay bars in San Francisco. This was in the late 80s, like 1989. There was a bar. It was actually called the Eagle Creek Saloon. And the owner was selling the bar. The white man’s name was John, and I knew him, and he approached me and he said, ‘Rodney, do you want to buy my bar?’ I said, ‘Wow, I’d love to, but I don’t have money.’ So he said, ‘I want to sell this bar to a Black man.’ I said, ‘Wow, OK, I’mma figure on how to get money together and buy this bar.’ We got enough money to buy the bar and my family was active in every way to get it going. And finally, when it got transferred into my name, my brothers came up, I had one brother who was a contractor, another brother who was an electrician.\u003c/p>\n\u003cp>My brothers always knew that I was gay and I never tried to hide it, but they got a lot closer and understood every aspect of being gay. They became friends with other gay customers and so forth, and they weren’t gay. But you know, it was a good experience, a good family venture that we went into.\u003c/p>\n\u003cp>And I never expected the bar would be just for Black people. I wanted everybody to be welcome there. And when it finally got turned over into my name, it was a big relief because something could have happened along the way. The neighbors could have contested a liquor license being transferred in that building and so forth, so it was a big relief.\u003c/p>\n\u003cp>I changed the name to the New Eagle Creek Saloon instead of just the Eagle Creek. The idea is that you keep the old name because people from different countries come looking for it and so forth. So it was great cause for a great celebration. We wound up having eight bartenders. We had women DJs, which they didn’t have at that time in any of these gay bars. They didn’t have any Black DJs. So we were able to provide the entertainment that people wanted and provide employment for talented Black people that weren’t able to express themselves in other establishments in San Francisco.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: And in that way, I guess it was sort of like, yes, it’s a bar, but then it sort of functions as a community center.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: Exactly. And that’s what we would call it, a community center that served alcohol … We celebrated people’s birthdays when they had a birthday, we had food and cakes and champagne … Our customers were able to get involved and somebody came up and said, ‘Well, here’s a slogan Rodney: A friendly place with a funky bass for every race.’ And that was perfect because we wanted to let people know everybody was invited and welcomed there.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): The New Eagle Creek Saloon had the formula for success: a dedicated clientele, a passionate owner, and a catchy slogan. It was also everything they needed to attract haters. Soon after the bar opened, the Bay Area Reporter ran a story that tried to scare other people from going.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: [The article was] pretty much implying that somebody got killed one time for hanging around with Black people or rough trade or whatever. So, you know, they were advising people to be leery of going to places like the New Eagle Creek Saloon. So our customers once again were outraged at that, and we sat down with a couple of our customers and wrote up a reply, demanding that they retract that article. And they actually did.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): This was 1991 in San Francisco. The same year Magic Johnson publicly announced that he was HIV-positive, a year before AIDS would become a leading cause of death for young American men and several years after Rodney lost a brother to AIDS. \u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: I saw how badly he suffered with the illness, but that was one of the things that drove me to want to do something about the AIDS epidemic… So we did fundraisers, and eventually there were marches and candlelight vigils that took place right on Market Street. So we would shut the bar down when people were marching by and participate in the march to City Hall demanding that they fund AIDS research. We had a group of people that put in an interactive video game that showed people what safe sex was. And that might sound crazy, or anybody should know it, but it showed people a safe way to have safe sex. It was interactive and it was the first of its kind and we were honored to have it in our bar. It wasn’t put anywhere else before it was put in the Eagle Creek.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): It was an arcade-style machine, where the goal was to pick the safest sexual option, a sort of choose your own adventure. And while a video game that teaches safe sex may sound obsolete now, most of the government-sponsored campaigns advertising safe sex as a way to prevent AIDS weren’t really aimed at Black people. So Rodney giving his patrons a lil’ education with the libation is community activism at its core. \u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: One of the things that people wanted, they said, ‘Rodney, we never had representation in the gay pride parade.’ So we figured out, well, maybe we can raise money – because it’s expensive. We sold 50 cent plastic cups of beer on Sunday. And a lot of people would come out. So we raised money that way and we got an actual committee together to get the float in the parade. We had one guy whose name was Mario. He designed all these costumes for people that were going to be on the float. We had a Black lesbian woman as the DJ. She played music in the bar a lot. And my daughter was six years old and she had a special costume made for her. And we dressed reflecting different generations of Black people.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: And we’re actually also joined by Rodney’s daughter, Sadie Barnette, who is an amazing artist in her own right… What do you remember about this parade?\u003c/em>\u003c/p>\n\u003cp>Sadie Barnette: I would have been, yes, six or seven years old, and I definitely remember it almost as a fairy tale. I remember going to the bar to try on my costume and just feeling so special and like a princess. I can’t remember the name on the float … I call it like Black people through the ages because it was like Egyptian costumes, Victorian costumes … throughout the arc of human history…\u003c/p>\n\u003cp>Rodney Barnette: When we turned the corner, there was a roar that went out the entire length of the parade. People were cheering us because it’s clearly a different float from everybody else’s float. We’re not just observers, people standing on the sideline watching gay pride. We’re part of it.\u003c/p>\n\u003cp>Rodney Barnette: … Something happened to the economy and all the bars were kind of suffering. I didn’t own the property, or the building that the bar was in. And rent skyrocketed. It was on Market Street, one of the most expensive rental places in the city, and I couldn’t keep paying the rent; the bar closed at the end of 1993.\u003c/p>\n\u003cp>What’s so ironic is some of these bars came out with Black Night, right? You could come on a Wednesday night and that’s when we play Black music and we won’t ask you for three pieces of I.D. So that’s what they had to resort to to stay in business.\u003c/p>\n\u003cp>Any time I would run into somebody that went to the [New Eagle Creek Saloon], they had this feeling of, ‘Wow, I wish it was still here.’\u003c/p>\n\u003cp>To tell you the truth, last night I ran into somebody I hadn’t seen in many years, and he realized it was me that I had owned the bar. He came there and we had a birthday party for him. And he came up and hugged me and just started crying and talked about the need for us to get together because there’s never been a place like that since then. So it touched people in a real meaningful way.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): And Sadie commemorates that place—the beauty, history, and resistance—in dope art installations. Since making exhibits featuring the FBI files on her father and photos from his time with the Black Panthers, she was also commissioned [by \u003ca href=\"https://www.thelab.org/commissions\">The Lab]\u003c/a> to build a re-imagined version of the New Eagle Creek Saloon’s bar, a recreation that you can actually step inside.\u003c/em>\u003c/p>\n\u003cp>Sadie Barnette: The name of the Eagle Creek Saloon, while it was in people’s hearts and meant so much to people who were there, it wasn’t something that was referenced in Netflix’s documentaries. It wasn’t something that grad students were studying. There was not a big paper trail of the Eagle Creek Saloon. And so for me, it was important to make sure that the name wasn’t lost and to do that through having really fun parties seemed like a great way to do it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Rodney Barnette first moved to San Francisco in 1969, he noticed that “it wasn’t all rah rah gay capital of the world.” His experiences with racism in San Francisco’s historic gay community led him to open the New Eagle Creek Saloon, the city’s first Black-owned gay bar, in 1990. Over 30 years later, Barnette speaks about why Black-affirming queer spaces are still needed, and what he took away from his experience operating one.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5125278989\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of the episode with Rodney Barnette and his daughter Sadie Barnette.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: Tell me about your first time getting adjusted to the gay community here in San Francisco.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: When I first moved here, it wasn’t known as the gay capital of the United States. Most of the activity was on Polk Street, but eventually things shifted to the Castro district. They started opening more restaurants … and the more white gay men that came, the more racist it got. That’s when we started getting carded, three pieces of I.D. to go in these bars. The bartender, they were always white and they would bypass you. Some of them had goons as security guards. There were fights that broke out at places that I went to that got so humiliating that I swore I would not go back because it can be dangerous for me or somebody else to be there.\u003c/p>\n\u003cp>You know, things were so bad that they even created racist language to depict if a white gay guy had Black gay friends or was attracted to Black people. They came up with the term Dinge queen—Dinge means dirty. That’s how thorough the racism was.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: (narration) We brunch now, but back in the day, the bars were the cornerstone of the queer social scene … How are you supposed to feel welcome in a community if you have to defend your humanity every time you go out? \u003c/em>\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: Eventually you got the impetus to start to own a bar, to start a bar. But where did it come from?\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: There was a bar back in the 70s that Black people felt comfortable going to. It was not in the Castro, It was called Bojangles. But … when we left the bar, the San Francisco Police Department was waiting outside with paddy wagons and arresting Black gay people who were standing around talking, trying to exchange numbers. So you always felt like you had to almost run to get away from being arrested.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: You told me a story earlier about Deniece Williams at a bar.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: She had a new album out, and it was so beautiful. It turned out that she was going to be performing at one of these bars up in North Beach. And we had already had bad experiences trying to get in there, carding us with three pieces of I.D. and dress codes, so we never really went there. But we said, OK, we’re going to go see Deniece Williams. Deniece Williams came out and she started performing and singing beautiful songs, and we started clapping and cheering and then between songs, she said, ‘Wow, you guys really liked the music. I can see that you’re responding. How come there aren’t more people here?’ And almost in unison we all said, ‘Because it’s a racist gay bar.’ It’s not that she wasn’t popular, there were things restricting access to her performance.\u003c/p>\n\u003cp>Rodney Barnette: I felt like we had an opportunity to make a difference in the community. I always knew that there weren’t any Black-owned gay bars in San Francisco. This was in the late 80s, like 1989. There was a bar. It was actually called the Eagle Creek Saloon. And the owner was selling the bar. The white man’s name was John, and I knew him, and he approached me and he said, ‘Rodney, do you want to buy my bar?’ I said, ‘Wow, I’d love to, but I don’t have money.’ So he said, ‘I want to sell this bar to a Black man.’ I said, ‘Wow, OK, I’mma figure on how to get money together and buy this bar.’ We got enough money to buy the bar and my family was active in every way to get it going. And finally, when it got transferred into my name, my brothers came up, I had one brother who was a contractor, another brother who was an electrician.\u003c/p>\n\u003cp>My brothers always knew that I was gay and I never tried to hide it, but they got a lot closer and understood every aspect of being gay. They became friends with other gay customers and so forth, and they weren’t gay. But you know, it was a good experience, a good family venture that we went into.\u003c/p>\n\u003cp>And I never expected the bar would be just for Black people. I wanted everybody to be welcome there. And when it finally got turned over into my name, it was a big relief because something could have happened along the way. The neighbors could have contested a liquor license being transferred in that building and so forth, so it was a big relief.\u003c/p>\n\u003cp>I changed the name to the New Eagle Creek Saloon instead of just the Eagle Creek. The idea is that you keep the old name because people from different countries come looking for it and so forth. So it was great cause for a great celebration. We wound up having eight bartenders. We had women DJs, which they didn’t have at that time in any of these gay bars. They didn’t have any Black DJs. So we were able to provide the entertainment that people wanted and provide employment for talented Black people that weren’t able to express themselves in other establishments in San Francisco.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: And in that way, I guess it was sort of like, yes, it’s a bar, but then it sort of functions as a community center.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: Exactly. And that’s what we would call it, a community center that served alcohol … We celebrated people’s birthdays when they had a birthday, we had food and cakes and champagne … Our customers were able to get involved and somebody came up and said, ‘Well, here’s a slogan Rodney: A friendly place with a funky bass for every race.’ And that was perfect because we wanted to let people know everybody was invited and welcomed there.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): The New Eagle Creek Saloon had the formula for success: a dedicated clientele, a passionate owner, and a catchy slogan. It was also everything they needed to attract haters. Soon after the bar opened, the Bay Area Reporter ran a story that tried to scare other people from going.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: [The article was] pretty much implying that somebody got killed one time for hanging around with Black people or rough trade or whatever. So, you know, they were advising people to be leery of going to places like the New Eagle Creek Saloon. So our customers once again were outraged at that, and we sat down with a couple of our customers and wrote up a reply, demanding that they retract that article. And they actually did.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): This was 1991 in San Francisco. The same year Magic Johnson publicly announced that he was HIV-positive, a year before AIDS would become a leading cause of death for young American men and several years after Rodney lost a brother to AIDS. \u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: I saw how badly he suffered with the illness, but that was one of the things that drove me to want to do something about the AIDS epidemic… So we did fundraisers, and eventually there were marches and candlelight vigils that took place right on Market Street. So we would shut the bar down when people were marching by and participate in the march to City Hall demanding that they fund AIDS research. We had a group of people that put in an interactive video game that showed people what safe sex was. And that might sound crazy, or anybody should know it, but it showed people a safe way to have safe sex. It was interactive and it was the first of its kind and we were honored to have it in our bar. It wasn’t put anywhere else before it was put in the Eagle Creek.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): It was an arcade-style machine, where the goal was to pick the safest sexual option, a sort of choose your own adventure. And while a video game that teaches safe sex may sound obsolete now, most of the government-sponsored campaigns advertising safe sex as a way to prevent AIDS weren’t really aimed at Black people. So Rodney giving his patrons a lil’ education with the libation is community activism at its core. \u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: One of the things that people wanted, they said, ‘Rodney, we never had representation in the gay pride parade.’ So we figured out, well, maybe we can raise money – because it’s expensive. We sold 50 cent plastic cups of beer on Sunday. And a lot of people would come out. So we raised money that way and we got an actual committee together to get the float in the parade. We had one guy whose name was Mario. He designed all these costumes for people that were going to be on the float. We had a Black lesbian woman as the DJ. She played music in the bar a lot. And my daughter was six years old and she had a special costume made for her. And we dressed reflecting different generations of Black people.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: And we’re actually also joined by Rodney’s daughter, Sadie Barnette, who is an amazing artist in her own right… What do you remember about this parade?\u003c/em>\u003c/p>\n\u003cp>Sadie Barnette: I would have been, yes, six or seven years old, and I definitely remember it almost as a fairy tale. I remember going to the bar to try on my costume and just feeling so special and like a princess. I can’t remember the name on the float … I call it like Black people through the ages because it was like Egyptian costumes, Victorian costumes … throughout the arc of human history…\u003c/p>\n\u003cp>Rodney Barnette: When we turned the corner, there was a roar that went out the entire length of the parade. People were cheering us because it’s clearly a different float from everybody else’s float. We’re not just observers, people standing on the sideline watching gay pride. We’re part of it.\u003c/p>\n\u003cp>Rodney Barnette: … Something happened to the economy and all the bars were kind of suffering. I didn’t own the property, or the building that the bar was in. And rent skyrocketed. It was on Market Street, one of the most expensive rental places in the city, and I couldn’t keep paying the rent; the bar closed at the end of 1993.\u003c/p>\n\u003cp>What’s so ironic is some of these bars came out with Black Night, right? You could come on a Wednesday night and that’s when we play Black music and we won’t ask you for three pieces of I.D. So that’s what they had to resort to to stay in business.\u003c/p>\n\u003cp>Any time I would run into somebody that went to the [New Eagle Creek Saloon], they had this feeling of, ‘Wow, I wish it was still here.’\u003c/p>\n\u003cp>To tell you the truth, last night I ran into somebody I hadn’t seen in many years, and he realized it was me that I had owned the bar. He came there and we had a birthday party for him. And he came up and hugged me and just started crying and talked about the need for us to get together because there’s never been a place like that since then. So it touched people in a real meaningful way.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): And Sadie commemorates that place—the beauty, history, and resistance—in dope art installations. Since making exhibits featuring the FBI files on her father and photos from his time with the Black Panthers, she was also commissioned [by \u003ca href=\"https://www.thelab.org/commissions\">The Lab]\u003c/a> to build a re-imagined version of the New Eagle Creek Saloon’s bar, a recreation that you can actually step inside.\u003c/em>\u003c/p>\n\u003cp>Sadie Barnette: The name of the Eagle Creek Saloon, while it was in people’s hearts and meant so much to people who were there, it wasn’t something that was referenced in Netflix’s documentaries. It wasn’t something that grad students were studying. There was not a big paper trail of the Eagle Creek Saloon. And so for me, it was important to make sure that the name wasn’t lost and to do that through having really fun parties seemed like a great way to do it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Rightnowish Presents: Searching for a Kiki",
"headTitle": "Rightnowish Presents: Searching for a Kiki | KQED",
"content": "\u003cp>San Francisco has a global reputation for being on the forefront of queer liberation, but the experiences of Black queer folks in the Bay over time tell a different story.\u003c/p>\n\u003cp>Even though the Bay Area has no shortage of gay bars, few are actually owned by Black people. Over the years, spaces that catered to the Black queer community have permanently closed their doors, taking with them the sense of belonging and community that they fostered.\u003c/p>\n\u003cp>For the month of June, we’re dropping a 3-part miniseries on Black queer spaces in the Bay Area: where were they, what happened to them, and how are people who live at the intersection finding and maintaining community today? We’ll explore where Black people have built safe spaces for ourselves—and why these spaces are still necessary today.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13914457/rightnowish-searching-for-a-kiki-sfs-first-black-owned-gay-bar\">\u003cstrong>SF’s First Black Owned Gay Bar\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>When he first moved to San Francisco in 1969, Rodney Barnette noticed that “It wasn’t all rah rah gay capital of the world.” His experiences with racism in the historic gay Castro district inspired him to open the Eagle Creek Saloon, the city’s first Black-owned gay bar, in 1990. Over 30 years later, Barnette speaks with us about why Black-affirming queer spaces are still needed, and what he took away from his experience owning one.\u003c/p>\n\u003cfigure id=\"attachment_13914484\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Rondey_Barnette_by-Sadie-Barnette_2022-1-800x534.jpg\" alt=\"Rodney Barnette stands in front of greenery and flowers in a crisp gray shirt\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Rondey_Barnette_by-Sadie-Barnette_2022-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Rondey_Barnette_by-Sadie-Barnette_2022-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Rondey_Barnette_by-Sadie-Barnette_2022-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Rondey_Barnette_by-Sadie-Barnette_2022-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Rondey_Barnette_by-Sadie-Barnette_2022-1-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Rondey_Barnette_by-Sadie-Barnette_2022-1-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Rondey_Barnette_by-Sadie-Barnette_2022-1-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rodney Barnette \u003ccite>(Courtesy of Sadie Barnette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5125278989\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The World’s First Transgender Cultural District\u003c/strong>\u003c/p>\n\u003cp>The rich LGBT history of the Tenderloin goes back farther than any bricks thrown at Stonewall, and Transgender Cultural District President and Chief Strategist Aria Sa’id makes it her job to preserve that history; her work in securing tenant protections, workforce development, arts and cultural heritage preservation, and cultural competency for the residents of the historic Tenderloin neighborhood has taken the idea of ‘safe space’ beyond the bars and into our daily lives. Sa’id speaks with us about what makes a space ‘safe’, and the effect that empowering the most vulnerable within a community has on the rest of us.\u003c/p>\n\u003cfigure id=\"attachment_13914516\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/ARIASAID-800x533.jpeg\" alt=\"Aria Sa'id\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ARIASAID-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ARIASAID-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ARIASAID-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ARIASAID-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ARIASAID-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ARIASAID-2048x1366.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ARIASAID-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aria Sa’id \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6471840865\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Next Generation of Black and Queer Clubs\u003c/strong>\u003c/p>\n\u003cp>Nenna Joiner owns Feelmore, a queer-friendly sex toy shop with locations in Berkeley and Oakland. Noticing the lack of Black queer spaces beyond the monthly “RnB nights” at many local clubs, they decided to open the Feelmore Social Club in Downtown Oakland, a bar slated to open in 2022. “This energy that they feel in Feelmore is akin to the energy that they’re going to feel here,” Joiner assures, “We want to be open a long time.” Joiner speaks about re-imagining the Black queer space, and the role of the Black queer dollar in the community.\u003c/p>\n\u003cfigure id=\"attachment_13914517\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56206_20220512_NennaFeelmoreSocialClub-24-800x540.jpg\" alt=\"Nenna Joiner poses for a portrait with their construction plans on May 12, 2022 in Oakland, Calif. Joiner is preparing to open Feelmore Social Club in Downtown Oakland.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56206_20220512_NennaFeelmoreSocialClub-24-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56206_20220512_NennaFeelmoreSocialClub-24-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56206_20220512_NennaFeelmoreSocialClub-24-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56206_20220512_NennaFeelmoreSocialClub-24-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56206_20220512_NennaFeelmoreSocialClub-24-1536x1037.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56206_20220512_NennaFeelmoreSocialClub-24-1920x1296.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56206_20220512_NennaFeelmoreSocialClub-24.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nenna Joiner. \u003ccite>(Amaya Nicole Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC1281318740\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco has a global reputation for being on the forefront of queer liberation, but the experiences of Black queer folks in the Bay over time tell a different story.\u003c/p>\n\u003cp>Even though the Bay Area has no shortage of gay bars, few are actually owned by Black people. Over the years, spaces that catered to the Black queer community have permanently closed their doors, taking with them the sense of belonging and community that they fostered.\u003c/p>\n\u003cp>For the month of June, we’re dropping a 3-part miniseries on Black queer spaces in the Bay Area: where were they, what happened to them, and how are people who live at the intersection finding and maintaining community today? We’ll explore where Black people have built safe spaces for ourselves—and why these spaces are still necessary today.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13914457/rightnowish-searching-for-a-kiki-sfs-first-black-owned-gay-bar\">\u003cstrong>SF’s First Black Owned Gay Bar\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>When he first moved to San Francisco in 1969, Rodney Barnette noticed that “It wasn’t all rah rah gay capital of the world.” His experiences with racism in the historic gay Castro district inspired him to open the Eagle Creek Saloon, the city’s first Black-owned gay bar, in 1990. Over 30 years later, Barnette speaks with us about why Black-affirming queer spaces are still needed, and what he took away from his experience owning one.\u003c/p>\n\u003cfigure id=\"attachment_13914484\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Rondey_Barnette_by-Sadie-Barnette_2022-1-800x534.jpg\" alt=\"Rodney Barnette stands in front of greenery and flowers in a crisp gray shirt\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Rondey_Barnette_by-Sadie-Barnette_2022-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Rondey_Barnette_by-Sadie-Barnette_2022-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Rondey_Barnette_by-Sadie-Barnette_2022-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Rondey_Barnette_by-Sadie-Barnette_2022-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Rondey_Barnette_by-Sadie-Barnette_2022-1-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Rondey_Barnette_by-Sadie-Barnette_2022-1-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Rondey_Barnette_by-Sadie-Barnette_2022-1-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rodney Barnette \u003ccite>(Courtesy of Sadie Barnette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5125278989\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The World’s First Transgender Cultural District\u003c/strong>\u003c/p>\n\u003cp>The rich LGBT history of the Tenderloin goes back farther than any bricks thrown at Stonewall, and Transgender Cultural District President and Chief Strategist Aria Sa’id makes it her job to preserve that history; her work in securing tenant protections, workforce development, arts and cultural heritage preservation, and cultural competency for the residents of the historic Tenderloin neighborhood has taken the idea of ‘safe space’ beyond the bars and into our daily lives. Sa’id speaks with us about what makes a space ‘safe’, and the effect that empowering the most vulnerable within a community has on the rest of us.\u003c/p>\n\u003cfigure id=\"attachment_13914516\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/ARIASAID-800x533.jpeg\" alt=\"Aria Sa'id\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ARIASAID-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ARIASAID-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ARIASAID-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ARIASAID-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ARIASAID-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ARIASAID-2048x1366.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ARIASAID-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aria Sa’id \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6471840865\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Next Generation of Black and Queer Clubs\u003c/strong>\u003c/p>\n\u003cp>Nenna Joiner owns Feelmore, a queer-friendly sex toy shop with locations in Berkeley and Oakland. Noticing the lack of Black queer spaces beyond the monthly “RnB nights” at many local clubs, they decided to open the Feelmore Social Club in Downtown Oakland, a bar slated to open in 2022. “This energy that they feel in Feelmore is akin to the energy that they’re going to feel here,” Joiner assures, “We want to be open a long time.” Joiner speaks about re-imagining the Black queer space, and the role of the Black queer dollar in the community.\u003c/p>\n\u003cfigure id=\"attachment_13914517\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56206_20220512_NennaFeelmoreSocialClub-24-800x540.jpg\" alt=\"Nenna Joiner poses for a portrait with their construction plans on May 12, 2022 in Oakland, Calif. Joiner is preparing to open Feelmore Social Club in Downtown Oakland.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56206_20220512_NennaFeelmoreSocialClub-24-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56206_20220512_NennaFeelmoreSocialClub-24-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56206_20220512_NennaFeelmoreSocialClub-24-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56206_20220512_NennaFeelmoreSocialClub-24-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56206_20220512_NennaFeelmoreSocialClub-24-1536x1037.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56206_20220512_NennaFeelmoreSocialClub-24-1920x1296.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56206_20220512_NennaFeelmoreSocialClub-24.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nenna Joiner. \u003ccite>(Amaya Nicole Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC1281318740\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "PHOTOS: LGBTQ+ Oakland Shows Out at the 'Open To All' Ball",
"headTitle": "PHOTOS: LGBTQ+ Oakland Shows Out at the ‘Open To All’ Ball | KQED",
"content": "\u003cp>Vogue is about much more than turning the world into a catwalk: it’s a form of self-expression, a celebration of culture and a way to find a sense of community. The Oakland Pride parade may have gone digital this year, but Open To All (OTA) weekend more than made up for it. Consisting of back-to-back vogue events on Sept.10 and 11, the Oakland To All Kiki Ball and Back with a Vengeance Ball brought the true spirit of Pride to Lake Merritt in full color.\u003c/p>\n\u003cp>“I found a big part of my confidence in ballroom,” said OTA Oakland Pride Weekend organizer Shireen Rahimi, a.k.a. Hype Kitty. [aside postid='arts_13829047']\u003c/p>\n\u003cp>Rahimi, who hosts weekly vogue sessions and helped expand OTA to the Bay Area, recognizes how important it is for the youth to have a place to practice together. “Vogue is something that really impacts these kids’ lives. It’s creating a space where kids can come and truly be themselves,” she said.\u003c/p>\n\u003cp>Both free events were crowdfunded through donations from the weekly vogue sessions and GoFundMe, and received support from Bridge HIV, TransVision, CAL-PEP, AIDS Project of the East Bay (APEB) and Alameda County Health Care Services. “That’s really our thing, open to all. Open to all genders. Open to all identities,” said OTA Founder and CEO Leggoh JohVera.\u003c/p>\n\u003cp>The legendary New York commentator said OTA’s goal is to make sure “that what we get, we can give back.” In that spirit, all donations, aside from event cost, went straight to cash prizes for vogue performers to win in multiple categories.\u003c/p>\n\u003cfigure id=\"attachment_13902893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902893\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4119.jpg\" alt=\"A dancer lays on the asphalt with one leg in the air as a crowd cheers.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4119.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4119-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4119-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Set It Off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theme “Back with a Vengeance” came together after overcoming several unexpected hurdles while coordinating the main event on Saturday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The most challenging part is that we had to deal with the city this year. All of the events that we do are technically renegade,” said organizer Guerilla Davis with the artist collective We Are the Ones We’ve Been Waiting For.\u003c/p>\n\u003cp>This meant paying $3,000 in police security fees and other permit costs, Davis said, despite the fact that organizers secured a community-informed safety squad trained in de-escalation and conflict resolution. [aside postid='arts_13902006']\u003c/p>\n\u003cp>“It’s so ridiculous the number of forms and the amount of money it takes to have a free event,” Davis said. “The amount of money that we paid from donations that could have gone back into the community is going back to the city.”\u003c/p>\n\u003cp>Despite the hurdles, the team who organized the event was happy with the turnout. “At the end of the day, we were able to get all the permits,” said organizer Ashlee 007. “We were able to meet all the requirements to have the event. We had a successful event. All the money that was donated was given out to the community. Everything that we wanted to happen happened.”\u003c/p>\n\u003cfigure id=\"attachment_13902890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902890\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4052.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4052.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4052-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4052-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Set It Off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Balls Provide Safe Spaces for LGBTQ+ Dancers\u003c/h2>\n\u003cp>Venus Alaia 007 attended both the Oakland To All Kiki Ball and Back with a Vengeance Ball. She grew up in East Palo Alto and often traveled to find a sense of community. “It’s not safe for trans women, so growing up I would always commute to San Francisco and to Oakland to find community, to find safe spaces,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13902873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902873\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3693.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3693.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3693-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3693-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Venus Alaia 007(left) and friend at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Isaiah Wilder, attending a ballroom event is like lighting a fresh candle. “Ballroom is really just comfortable. It’s almost like a candle in your house. The aroma is what I really like,” Wilder said.\u003c/p>\n\u003cfigure id=\"attachment_13902901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902901\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4273.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4273.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4273-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4273-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaiah Wilder competes in the “Set It Off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wilder has been a part of the ballroom scene for more than 13 years and has turned his passion into a career, most notably with a feature in the music video for Sam Smith’s “\u003ca href=\"https://youtu.be/kkLk2XWMBf8\" target=\"_blank\" rel=\"noopener noreferrer\">Promises\u003c/a>.” He also made it to HBO Max’s \u003cem>Legendary\u003c/em> season one finale with his former house, the House of Lanvin.\u003c/p>\n\u003cp>“It makes you feel good. It makes you just feel important and that you are here for a purpose and you belong here,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13902900\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4265.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4265.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4265-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4265-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaiah Wilder competes in the “Set It Off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A West Coast Hub for Vogue\u003c/h2>\n\u003cp>Romania Stephens flew in from Los Angeles to attend the event and support friends who live in the area. She used to perform in Northern California often and was excited to be back for the weekend. “I came out here to have a good time and to grow,” Stephens said. “It’s just amazing to be here, to be alive, and to be moving.”\u003c/p>\n\u003cfigure id=\"attachment_13902902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902902\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4293.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4293.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4293-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4293-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Mohundro competes in the “Set It Off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacob Mohundro also traveled to the Bay Area to partake in this weekend’s festivities. Mohundro currently lives in Reno, Nevada. The three-hour drive was well worth it for the young dancer. “This is the closest place to Reno that has balls. This is how I stay in balls,” Mohundro said.\u003c/p>\n\u003cfigure id=\"attachment_13902894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902894\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4152.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4152.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4152-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4152-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Mohundro competes in the “Set It Off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mohundro competed in several categories and made it far in the “Set It Off” OTA Performance contest, which offered Back with a Vengeance Ball’s largest cash prize for the weekend. Though Mohundro didn’t win, they were excited for the opportunity to perform alongside vogue legends.\u003c/p>\n\u003ch2>D.I.Y. Fashions On Full Display\u003c/h2>\n\u003cp>G’bari Gilliam, the winner of the virgin runway “Shine Bright Like a Diamond” contest, heard about the event and knew he had to attend. He put together a custom look with the help of a fellow member of The House of Gorgeous Gucci.\u003c/p>\n\u003cfigure id=\"attachment_13902867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3658.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3658.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3658-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3658-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">G’bari Gilliam wins the virgin runway “Shine Bright Like a Diamond” contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Gilliam, being a part of The House of Gorgeous Gucci means having a chosen family. “They were bringing something new to the ballroom scene, and I wanted to be a part of that. I wanted to help create a legacy,” Gilliam said.\u003c/p>\n\u003cp>His custom-made look was a nod to the future. “I wanted to incorporate high fashion and heavy metal,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13902892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902892\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4109.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4109.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4109-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4109-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Back with a Vengeance Ball at Lake Merritt Amphitheater in Oakland on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gilliam was excited he won the contest, and enjoyed the environment the event fostered most of all. “All good energy, great weather, good atmosphere, it’s a great time,” he said.\u003c/p>\n\u003ch2>Celebrating Black, Queer Excellence\u003c/h2>\n\u003cp>Montreal Kallman loves the ballroom scene. “I’m really excited about it becoming more lively and more of a fully realized thing here in the Bay Area,” Kallman said.\u003c/p>\n\u003cp>Kallman attended the event on their own. “I know I’m going to see people I know and I’m going to be gagged,” they said.\u003c/p>\n\u003cp>Kallman appreciates the rich culture found at vogue balls and a great place to observe queer excellence. “Particularly, queer, Black excellence. That’s the legacy that it represents to me,” they said.\u003c/p>\n\u003cfigure id=\"attachment_13902869\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3663.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3663.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3663-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3663-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Montreal Kallman at Back with a Vengeance Ball at Lake Merritt Amphitheater in Oakland on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4400.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4400-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4400-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The event organizers and support team at Back with a Vengeance Ball at in Oakland on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4381.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4381.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4381-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4381-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow at Back with a Vengeance Ball at Lake Merritt Amphitheater in Oakland on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902903\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4307.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4307.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4307-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4307-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Back with a Vengeance Ball at Lake Merritt Amphitheater in Oakland on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902885\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3965.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3965.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3965-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3965-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Set It Off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902884\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902884\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3931.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3931.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3931-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3931-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Set It Off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902878\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902878\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3755.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3755.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3755-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3755-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shireen Rahimi and Jocquese Whitfield at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902865\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3610.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3610.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3610-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3610-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“It’s Morphin’ Time” Virgin Vogue contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902864\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3596.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3596-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3596-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“It’s Morphin’ Time” Virgin Vogue contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3653.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3653-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3653-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Shine Bright Like a Diamond” Virgin runway contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902872\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3687.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3687-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3687-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Back with a Vengeance Ball at Lake Merritt Amphitheater in Oakland on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902876\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3722.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3722.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3722-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3722-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Back with a Vengeance Ball at Lake Merritt Amphitheater in Oakland on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902874\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3694.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3694.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3694-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3694-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Back with a Vengeance Ball at Lake Merritt Amphitheater in Oakland on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902877\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3724.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3724.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3724-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3724-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jocquese Whitfield (AKA Sir Joq) performs at Back with a Vengeance Ball at Lake Merritt Amphitheater Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902863\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902863\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3568.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3568-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3568-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Oakland To All Kiki Ball at Lake Merritt on Friday, Sept. 10, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902862\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3521.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3521-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3521-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">OTA performance contest at the Oakland To All Kiki Ball at Lake Merritt on Friday, Sept. 10, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902860\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3475.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3475-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3475-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">OTA performance contest at the Oakland To All Kiki Ball at Lake Merritt on Friday, Sept. 10, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902858\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902858\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3373.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3373.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3373-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3373-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Oakland To All Kiki Ball at Lake Merritt on Friday, Sept. 10, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902857\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3355.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3355.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3355-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3355-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Oakland To All Kiki Ball at Lake Merritt on Friday, Sept. 10, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902856\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902856\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3349.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3349.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3349-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3349-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">OTA runway contest at the Oakland To All Kiki Ball at Lake Merritt on Friday, Sept. 10, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "During Oakland Pride weekend, Black and brown, queer and trans dancers gathered to show off their moves and D.I.Y. fashions. ",
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"description": "During Oakland Pride weekend, Black and brown, queer and trans dancers gathered to show off their moves and D.I.Y. fashions. ",
"title": "PHOTOS: LGBTQ+ Oakland Shows Out at the 'Open To All' Ball | KQED",
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"headline": "PHOTOS: LGBTQ+ Oakland Shows Out at the 'Open To All' Ball",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Vogue is about much more than turning the world into a catwalk: it’s a form of self-expression, a celebration of culture and a way to find a sense of community. The Oakland Pride parade may have gone digital this year, but Open To All (OTA) weekend more than made up for it. Consisting of back-to-back vogue events on Sept.10 and 11, the Oakland To All Kiki Ball and Back with a Vengeance Ball brought the true spirit of Pride to Lake Merritt in full color.\u003c/p>\n\u003cp>“I found a big part of my confidence in ballroom,” said OTA Oakland Pride Weekend organizer Shireen Rahimi, a.k.a. Hype Kitty. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rahimi, who hosts weekly vogue sessions and helped expand OTA to the Bay Area, recognizes how important it is for the youth to have a place to practice together. “Vogue is something that really impacts these kids’ lives. It’s creating a space where kids can come and truly be themselves,” she said.\u003c/p>\n\u003cp>Both free events were crowdfunded through donations from the weekly vogue sessions and GoFundMe, and received support from Bridge HIV, TransVision, CAL-PEP, AIDS Project of the East Bay (APEB) and Alameda County Health Care Services. “That’s really our thing, open to all. Open to all genders. Open to all identities,” said OTA Founder and CEO Leggoh JohVera.\u003c/p>\n\u003cp>The legendary New York commentator said OTA’s goal is to make sure “that what we get, we can give back.” In that spirit, all donations, aside from event cost, went straight to cash prizes for vogue performers to win in multiple categories.\u003c/p>\n\u003cfigure id=\"attachment_13902893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902893\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4119.jpg\" alt=\"A dancer lays on the asphalt with one leg in the air as a crowd cheers.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4119.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4119-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4119-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Set It Off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theme “Back with a Vengeance” came together after overcoming several unexpected hurdles while coordinating the main event on Saturday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The most challenging part is that we had to deal with the city this year. All of the events that we do are technically renegade,” said organizer Guerilla Davis with the artist collective We Are the Ones We’ve Been Waiting For.\u003c/p>\n\u003cp>This meant paying $3,000 in police security fees and other permit costs, Davis said, despite the fact that organizers secured a community-informed safety squad trained in de-escalation and conflict resolution. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s so ridiculous the number of forms and the amount of money it takes to have a free event,” Davis said. “The amount of money that we paid from donations that could have gone back into the community is going back to the city.”\u003c/p>\n\u003cp>Despite the hurdles, the team who organized the event was happy with the turnout. “At the end of the day, we were able to get all the permits,” said organizer Ashlee 007. “We were able to meet all the requirements to have the event. We had a successful event. All the money that was donated was given out to the community. Everything that we wanted to happen happened.”\u003c/p>\n\u003cfigure id=\"attachment_13902890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902890\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4052.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4052.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4052-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4052-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Set It Off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Balls Provide Safe Spaces for LGBTQ+ Dancers\u003c/h2>\n\u003cp>Venus Alaia 007 attended both the Oakland To All Kiki Ball and Back with a Vengeance Ball. She grew up in East Palo Alto and often traveled to find a sense of community. “It’s not safe for trans women, so growing up I would always commute to San Francisco and to Oakland to find community, to find safe spaces,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13902873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902873\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3693.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3693.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3693-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3693-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Venus Alaia 007(left) and friend at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Isaiah Wilder, attending a ballroom event is like lighting a fresh candle. “Ballroom is really just comfortable. It’s almost like a candle in your house. The aroma is what I really like,” Wilder said.\u003c/p>\n\u003cfigure id=\"attachment_13902901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902901\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4273.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4273.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4273-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4273-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaiah Wilder competes in the “Set It Off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wilder has been a part of the ballroom scene for more than 13 years and has turned his passion into a career, most notably with a feature in the music video for Sam Smith’s “\u003ca href=\"https://youtu.be/kkLk2XWMBf8\" target=\"_blank\" rel=\"noopener noreferrer\">Promises\u003c/a>.” He also made it to HBO Max’s \u003cem>Legendary\u003c/em> season one finale with his former house, the House of Lanvin.\u003c/p>\n\u003cp>“It makes you feel good. It makes you just feel important and that you are here for a purpose and you belong here,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13902900\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4265.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4265.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4265-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4265-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaiah Wilder competes in the “Set It Off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A West Coast Hub for Vogue\u003c/h2>\n\u003cp>Romania Stephens flew in from Los Angeles to attend the event and support friends who live in the area. She used to perform in Northern California often and was excited to be back for the weekend. “I came out here to have a good time and to grow,” Stephens said. “It’s just amazing to be here, to be alive, and to be moving.”\u003c/p>\n\u003cfigure id=\"attachment_13902902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902902\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4293.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4293.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4293-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4293-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Mohundro competes in the “Set It Off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacob Mohundro also traveled to the Bay Area to partake in this weekend’s festivities. Mohundro currently lives in Reno, Nevada. The three-hour drive was well worth it for the young dancer. “This is the closest place to Reno that has balls. This is how I stay in balls,” Mohundro said.\u003c/p>\n\u003cfigure id=\"attachment_13902894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902894\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4152.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4152.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4152-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4152-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Mohundro competes in the “Set It Off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mohundro competed in several categories and made it far in the “Set It Off” OTA Performance contest, which offered Back with a Vengeance Ball’s largest cash prize for the weekend. Though Mohundro didn’t win, they were excited for the opportunity to perform alongside vogue legends.\u003c/p>\n\u003ch2>D.I.Y. Fashions On Full Display\u003c/h2>\n\u003cp>G’bari Gilliam, the winner of the virgin runway “Shine Bright Like a Diamond” contest, heard about the event and knew he had to attend. He put together a custom look with the help of a fellow member of The House of Gorgeous Gucci.\u003c/p>\n\u003cfigure id=\"attachment_13902867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3658.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3658.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3658-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3658-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">G’bari Gilliam wins the virgin runway “Shine Bright Like a Diamond” contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Gilliam, being a part of The House of Gorgeous Gucci means having a chosen family. “They were bringing something new to the ballroom scene, and I wanted to be a part of that. I wanted to help create a legacy,” Gilliam said.\u003c/p>\n\u003cp>His custom-made look was a nod to the future. “I wanted to incorporate high fashion and heavy metal,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13902892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902892\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4109.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4109.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4109-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4109-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Back with a Vengeance Ball at Lake Merritt Amphitheater in Oakland on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gilliam was excited he won the contest, and enjoyed the environment the event fostered most of all. “All good energy, great weather, good atmosphere, it’s a great time,” he said.\u003c/p>\n\u003ch2>Celebrating Black, Queer Excellence\u003c/h2>\n\u003cp>Montreal Kallman loves the ballroom scene. “I’m really excited about it becoming more lively and more of a fully realized thing here in the Bay Area,” Kallman said.\u003c/p>\n\u003cp>Kallman attended the event on their own. “I know I’m going to see people I know and I’m going to be gagged,” they said.\u003c/p>\n\u003cp>Kallman appreciates the rich culture found at vogue balls and a great place to observe queer excellence. “Particularly, queer, Black excellence. That’s the legacy that it represents to me,” they said.\u003c/p>\n\u003cfigure id=\"attachment_13902869\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3663.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3663.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3663-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3663-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Montreal Kallman at Back with a Vengeance Ball at Lake Merritt Amphitheater in Oakland on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4400.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4400-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4400-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The event organizers and support team at Back with a Vengeance Ball at in Oakland on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4381.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4381.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4381-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4381-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow at Back with a Vengeance Ball at Lake Merritt Amphitheater in Oakland on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902903\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4307.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4307.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4307-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4307-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Back with a Vengeance Ball at Lake Merritt Amphitheater in Oakland on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902885\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3965.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3965.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3965-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3965-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Set It Off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902884\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902884\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3931.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3931.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3931-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3931-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Set It Off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902878\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902878\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3755.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3755.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3755-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3755-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shireen Rahimi and Jocquese Whitfield at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902865\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3610.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3610.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3610-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3610-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“It’s Morphin’ Time” Virgin Vogue contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902864\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3596.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3596-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3596-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“It’s Morphin’ Time” Virgin Vogue contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3653.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3653-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3653-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Shine Bright Like a Diamond” Virgin runway contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902872\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3687.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3687-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3687-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Back with a Vengeance Ball at Lake Merritt Amphitheater in Oakland on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902876\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3722.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3722.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3722-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3722-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Back with a Vengeance Ball at Lake Merritt Amphitheater in Oakland on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902874\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3694.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3694.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3694-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3694-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Back with a Vengeance Ball at Lake Merritt Amphitheater in Oakland on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" 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srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3568-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3568-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Oakland To All Kiki Ball at Lake Merritt on Friday, Sept. 10, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902862\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3521.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3521-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3521-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">OTA performance contest at the Oakland To All Kiki Ball at Lake Merritt on Friday, Sept. 10, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902860\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3475.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3475-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3475-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">OTA performance contest at the Oakland To All Kiki Ball at Lake Merritt on Friday, Sept. 10, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902858\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902858\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3373.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3373.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3373-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3373-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Oakland To All Kiki Ball at Lake Merritt on Friday, Sept. 10, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902857\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3355.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3355.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3355-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3355-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Oakland To All Kiki Ball at Lake Merritt on Friday, Sept. 10, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902856\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902856\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3349.jpg\" alt=\"\" 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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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