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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/tenderloin-museum\">The Tenderloin Museum\u003c/a> — a hub for all things arts and history in the neighborhood — is \u003ca href=\"https://givebutter.com/tlm-expansion?mc_cid=fafe4c8fba&mc_eid=4f9cd40644\">asking for donations\u003c/a> in order to complete the first phase of an \u003ca href=\"https://www.kqed.org/arts/13971214/tenderloin-museum-expansion-comptons-cafeteria-riot-play\">ambitious expansion plan\u003c/a> that would see the museum triple in size.\u003c/p>\n\u003cp>“For 10 years, the Tenderloin Museum has celebrated and preserved the history of one of San Francisco’s most vibrant and misunderstood neighborhoods,” the fundraiser page states. “This expansion will … allow us to bring more of \u003ca href=\"https://www.kqed.org/arts/tag/tenderloin\">the Tenderloin\u003c/a> community’s stories, voices, and creativity to life.”\u003c/p>\n\u003cp>[aside postid='arts_13971214']The museum is hoping to raise $50,000 before the end of the year in order to complete new construction and host pop-up exhibits in 2026. One of those shows will be a collection of large-scale artworks by \u003ca href=\"https://www.instagram.com/allthingsmeng/?hl=en\">Michelle “Meng” Nguyen\u003c/a> that explore the history of the Tenderloin’s Vietnamese community.\u003c/p>\n\u003cp>“Those three or four high-impact temporary exhibitions will inform the future permanent exhibition,” explains Katie Conry, the museum’s executive director. “We want to start utilizing the space now, and not just wait for years to raise all the money we need. We want our community to be in there, learning and enjoying the space now as opposed to later. Let’s have events in there and build toward the full new vision.”\u003c/p>\n\u003cfigure id=\"attachment_13984034\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984034\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tlm-blueprint.png\" alt=\"A blueprint shows the layout of a city building's ground floor, colored in blue, pink and white.\" width=\"2000\" height=\"1312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tlm-blueprint.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tlm-blueprint-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tlm-blueprint-768x504.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tlm-blueprint-1536x1008.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A blueprint of the new, expanded Tenderloin Museum. \u003ccite>(The Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Extra fundraising for the museum expansion became necessary this year after federal funding for the arts was upended by the Trump administration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A lot of the grants available for exhibitions are federal,” Conry explains. “We intended to be able to get a significant amount of funding from the \u003ca href=\"https://www.kqed.org/arts/13974246/neh-funding-canceled-grants-california-humanities\">NEH\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13971749/nea-arts-funding-canceled-dei-trump\">NEA\u003c/a>. That funding doesn’t exist currently for an institution like ours that promotes history about immigration and LGBTQ issues and trans people.”\u003c/p>\n\u003cp>Situated on the corner of Leavenworth and Eddy, the Tenderloin Museum has long grappled with limited gallery space for art exhibits and community events.\u003c/p>\n\u003cp>“We host a lot of community events but occasionally have to turn away different groups because of space constraints,” Conry says. With the museum expansion, “we’re going to be able to host a lot more fundraisers, appreciation parties and tours with organizations in the neighborhood.”\u003c/p>\n\u003cp>[aside postid='arts_13975971']The Tenderloin Museum has been planning to expand since 2021, when it hatched plans to transform part of the basement of the Cadillac Hotel into a neon sign museum. Two years into that planning, the museum pivoted once more when a serendipitous opportunity arose. The childcare center next door to the museum closed down, making a much larger part of the building available.\u003c/p>\n\u003cp>That space, beautifully lit under an expansive skylight, isn’t just perfect for a new gallery, it’s also historically significant. Between 1924 and 1992, the rooms belonged to \u003ca href=\"https://www.sfheritage.org/news/landmark-tuesdays-the-cadillac-hotel/\">Newman’s Gym\u003c/a>, where boxers \u003ca href=\"https://www.kqed.org/arts/11647620/muhammad-ali-the-boxing-poet-who-inspired-liquid-prose\">Muhammad Ali\u003c/a>, Jack Dempsey, George Foreman and Sugar Ray Robinson all trained or competed. The Tenderloin Museum now has an exhibition about the gym planned for summer 2026.\u003c/p>\n\u003cfigure id=\"attachment_13971229\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971229\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed.jpg\" alt=\"large indoor space under glass ceiling\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The former childcare center was the Cadillac Hotel’s dining room, and later a boxing gym. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time of its official opening in late 2027 or early 2028, the expanded museum will house a bigger permanent collection (including more oral histories and personal stories from locals), a large art gallery, a neon sign gallery, a special exhibition room dedicated to local Indian American history, and a room devoted to youth-focused shows.\u003c/p>\n\u003cp>[aside postid='arts_13936204']“I think having space for more oral histories is going to have a big impact on people feeling like they’re represented in the museum and in the community,” Conry says. “We also think the neon gallery is really going to put the Tenderloin on the map as a major international destination. It will bring a lot of new people into the neighborhood to have a positive experience that will also support the [local] economy.”\u003c/p>\n\u003cp>Conry says that the museum needs to eventually find another million dollars in order to complete these goals fully. The first phase of construction was supported by money from a California state budget surplus that Conry says was secured for the Tenderloin Museum by Scott Wiener. Funding for the second phase of the museum’s expansion remains up in the air.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Tenderloin Museum’s \u003ca href=\"https://givebutter.com/tlm-expansion?mc_cid=fafe4c8fba&mc_eid=4f9cd40644\">online fundraiser\u003c/a> is currently active.\u003c/em>\u003c/p>\n\n",
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"title": "How to Help The Tenderloin Museum Triple in Size for 2026 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/tenderloin-museum\">The Tenderloin Museum\u003c/a> — a hub for all things arts and history in the neighborhood — is \u003ca href=\"https://givebutter.com/tlm-expansion?mc_cid=fafe4c8fba&mc_eid=4f9cd40644\">asking for donations\u003c/a> in order to complete the first phase of an \u003ca href=\"https://www.kqed.org/arts/13971214/tenderloin-museum-expansion-comptons-cafeteria-riot-play\">ambitious expansion plan\u003c/a> that would see the museum triple in size.\u003c/p>\n\u003cp>“For 10 years, the Tenderloin Museum has celebrated and preserved the history of one of San Francisco’s most vibrant and misunderstood neighborhoods,” the fundraiser page states. “This expansion will … allow us to bring more of \u003ca href=\"https://www.kqed.org/arts/tag/tenderloin\">the Tenderloin\u003c/a> community’s stories, voices, and creativity to life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The museum is hoping to raise $50,000 before the end of the year in order to complete new construction and host pop-up exhibits in 2026. One of those shows will be a collection of large-scale artworks by \u003ca href=\"https://www.instagram.com/allthingsmeng/?hl=en\">Michelle “Meng” Nguyen\u003c/a> that explore the history of the Tenderloin’s Vietnamese community.\u003c/p>\n\u003cp>“Those three or four high-impact temporary exhibitions will inform the future permanent exhibition,” explains Katie Conry, the museum’s executive director. “We want to start utilizing the space now, and not just wait for years to raise all the money we need. We want our community to be in there, learning and enjoying the space now as opposed to later. Let’s have events in there and build toward the full new vision.”\u003c/p>\n\u003cfigure id=\"attachment_13984034\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984034\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tlm-blueprint.png\" alt=\"A blueprint shows the layout of a city building's ground floor, colored in blue, pink and white.\" width=\"2000\" height=\"1312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tlm-blueprint.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tlm-blueprint-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tlm-blueprint-768x504.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tlm-blueprint-1536x1008.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A blueprint of the new, expanded Tenderloin Museum. \u003ccite>(The Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Extra fundraising for the museum expansion became necessary this year after federal funding for the arts was upended by the Trump administration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A lot of the grants available for exhibitions are federal,” Conry explains. “We intended to be able to get a significant amount of funding from the \u003ca href=\"https://www.kqed.org/arts/13974246/neh-funding-canceled-grants-california-humanities\">NEH\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13971749/nea-arts-funding-canceled-dei-trump\">NEA\u003c/a>. That funding doesn’t exist currently for an institution like ours that promotes history about immigration and LGBTQ issues and trans people.”\u003c/p>\n\u003cp>Situated on the corner of Leavenworth and Eddy, the Tenderloin Museum has long grappled with limited gallery space for art exhibits and community events.\u003c/p>\n\u003cp>“We host a lot of community events but occasionally have to turn away different groups because of space constraints,” Conry says. With the museum expansion, “we’re going to be able to host a lot more fundraisers, appreciation parties and tours with organizations in the neighborhood.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Tenderloin Museum has been planning to expand since 2021, when it hatched plans to transform part of the basement of the Cadillac Hotel into a neon sign museum. Two years into that planning, the museum pivoted once more when a serendipitous opportunity arose. The childcare center next door to the museum closed down, making a much larger part of the building available.\u003c/p>\n\u003cp>That space, beautifully lit under an expansive skylight, isn’t just perfect for a new gallery, it’s also historically significant. Between 1924 and 1992, the rooms belonged to \u003ca href=\"https://www.sfheritage.org/news/landmark-tuesdays-the-cadillac-hotel/\">Newman’s Gym\u003c/a>, where boxers \u003ca href=\"https://www.kqed.org/arts/11647620/muhammad-ali-the-boxing-poet-who-inspired-liquid-prose\">Muhammad Ali\u003c/a>, Jack Dempsey, George Foreman and Sugar Ray Robinson all trained or competed. The Tenderloin Museum now has an exhibition about the gym planned for summer 2026.\u003c/p>\n\u003cfigure id=\"attachment_13971229\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971229\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed.jpg\" alt=\"large indoor space under glass ceiling\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The former childcare center was the Cadillac Hotel’s dining room, and later a boxing gym. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time of its official opening in late 2027 or early 2028, the expanded museum will house a bigger permanent collection (including more oral histories and personal stories from locals), a large art gallery, a neon sign gallery, a special exhibition room dedicated to local Indian American history, and a room devoted to youth-focused shows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I think having space for more oral histories is going to have a big impact on people feeling like they’re represented in the museum and in the community,” Conry says. “We also think the neon gallery is really going to put the Tenderloin on the map as a major international destination. It will bring a lot of new people into the neighborhood to have a positive experience that will also support the [local] economy.”\u003c/p>\n\u003cp>Conry says that the museum needs to eventually find another million dollars in order to complete these goals fully. The first phase of construction was supported by money from a California state budget surplus that Conry says was secured for the Tenderloin Museum by Scott Wiener. Funding for the second phase of the museum’s expansion remains up in the air.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Tenderloin Museum’s \u003ca href=\"https://givebutter.com/tlm-expansion?mc_cid=fafe4c8fba&mc_eid=4f9cd40644\">online fundraiser\u003c/a> is currently active.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Tenderloin Museum to Expand, Bucking Local Trends",
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"content": "\u003cp>In early 2024, the \u003ca href=\"https://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a>’s plans for the future were thrown into thrilling disarray. Executive Director Katie Conry was getting ready to expand from the ground floor into the basement of the Cadillac Hotel, where the museum currently occupies about 3,200 square feet at the corner of Leavenworth and Eddy. \u003c/p>\n\u003cp>Kathy Looper, longtime owner of the Cadillac and the museum’s board president, came over with the news. The childcare center next door had closed. Would Conry be interested in taking a look?\u003c/p>\n\u003cp>“You could see the light bulbs going off in all of our heads as we walked around the space,” Looper remembers. “Much better than a basement.”\u003c/p>\n\u003cp>Underneath an elegant glass ceiling, they surveyed what had once been the hotel’s formal dining room, built in 1907, and later became \u003ca href=\"https://www.sfheritage.org/news/landmark-tuesdays-the-cadillac-hotel/\">Newman’s Gym\u003c/a>, where boxers Muhammad Ali, Jack Dempsey, George Foreman and Sugar Ray Robinson all trained or competed. (The floor still shows the boxing ring’s outline.)\u003c/p>\n\u003cfigure id=\"attachment_13971229\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed.jpg\" alt=\"large indoor space under glass ceiling\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The former childcare center was the Cadillac Hotel’s dining room, and later a boxing gym. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 6,850 square feet, it was so much more space than the museum had ever hoped to gain. And with that space, they could entertain some of their wildest dreams. The opportunity was too good to pass up. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An expansion project would be plenty of work for most museums, especially when so many other San Francisco cultural institutions are struggling with attendance and fundraising. But the Tenderloin Museum is now producing a play, building out an off-site theater venue \u003ci>and\u003c/i> launching a capital campaign that seeks to raise $4.2 million over the next three years. The plan is to open the expanded museum in early 2026. \u003c/p>\n\u003cp>All of this work aims to tell a different, more in-depth story about the Tenderloin — and those who have shaped it.\u003c/p>\n\u003cp>“For me, it’s all about enhancing people’s understanding of the community,” Looper says. “Instead of the Tenderloin being a negative thing, it could be a positive. We are \u003ci>literally\u003c/i> the best cut, the tenderloin of the city.”\u003c/p>\n\u003cfigure id=\"attachment_13971244\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed.jpg\" alt=\"white woman in black poses at table in museum gallery\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Executive Director Katie Conry at the Tenderloin Museum on Jan. 30, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Room for a more nuanced history\u003c/h2>\n\u003cp>If Conry has learned one thing during her decade at the museum, it’s that there is so much more to the Tenderloin than the current displays can capture. The museum’s main gallery covers the neighborhood’s vibrant history as an entertainment zone, immigrant hub and center for numerous social movements. On the ceiling, a delightful three-dimensional light-up map shows the Tenderloin’s buildings and intersections. \u003c/p>\n\u003cp>But in the lobby, just one wall is available for contemporary art shows. Recent history is radically condensed. Space isn’t just an issue for displays, either; staff offices are essentially a closet, making it tricky to have private or sensitive conversations — or solicit donors.\u003c/p>\n\u003cp>With this expansion, the museum will more than triple in size. The permanent exhibition space will move into the old childcare center, to be replaced by a new neon art gallery, with pieces borrowed from Jim Rizzo’s \u003ca href=\"http://www.neonwks.com/\">Neon Works\u003c/a> collection. \u003c/p>\n\u003cfigure id=\"attachment_13971239\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed.jpg\" alt=\"framed photos and text on red patterned wallpaper\" width=\"1999\" height=\"1333\" class=\"size-full wp-image-13971239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">A display in the current main gallery of the Tenderloin Museum. After the expansion, this area will become part of a neon gallery. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two generous galleries behind the permanent exhibition will host contemporary art exhibitions and a long-term installation on South Asian immigrants in the hotel industry. There is also a kitchen, extra bathrooms, a future youth-focused library, and plenty of room to host private events (and hopefully bring in additional revenue). \u003c/p>\n\u003cp>[aside postID='arts_13970919,arts_13968003']On a tour through the emptied-out childcare center, which still boasts a diminutive door next to an adult-sized one, the word that kept coming out of my mouth was, “Wow.”\u003c/p>\n\u003cp>The museum hopes to be closed for only the loudest part of the construction process — just a month or two, this spring. And despite the challenges ahead, Conry is optimistic they can buck local trends, which see San Francisco museums closing either temporarily or permanently. “I think we’re a unique space that has a dedicated following,” she says. “We’re able to be a bit more nimble than the larger organizations.”\u003c/p>\n\u003cp>That said, she wants the museum to be even more financially stable. Enter, stage left, another income stream: \u003ca href=\"https://www.comptonscafeteriariot.com/\">an ambitious play\u003c/a> based on the indelible neighborhood story of the Compton’s Cafeteria riot.\u003c/p>\n\u003cfigure id=\"attachment_13971242\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed.jpg\" alt=\"person looks at notebook of dialogue while holding chin\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director Ezra Reaves works with the cast of ‘Compton’s Cafeteria Riot’ during a rehearsal on Jan. 30, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Art in service of a larger goal\u003c/h2>\n\u003cp>Five blocks away from the museum, an energetic team of theater professionals is rehearsing lines, blocking fight choreography and turning 835 Larkin St. into a semi-functional 1960s diner. \u003c/p>\n\u003cp>[aside postID='arts_13835520,arts_11838357']The play, written by Collette LeGrande, Mark Nassar and Donna Personna, initially premiered at \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\">New Village Cafe in 2018\u003c/a> and sold out its two-month-plus run.\u003c/p>\n\u003cp>\u003ci>Compton’s Cafeteria Riot\u003c/i> takes place on an August night in 1966, at a 24-hour diner on the corner of Turk and Taylor. There, fed-up trans women, drag queens and sex workers rebelled in what \u003ca href=\"https://www.kqed.org/arts/11838357/in-66-on-one-hot-august-night-trans-women-fought-for-their-rights\">historian Susan Stryker\u003c/a> identifies as the “first known instance of collective militant queer resistance to police harassment in United States history.”\u003c/p>\n\u003cp>The play, drawn largely from LeGrande and Personna’s own experiences, collapses the distance between audience and performer, lived history and theatrical retelling. Action takes place throughout the diner as audience members sit elbow-to-elbow with actors, or get a plate of pancakes from them.\u003c/p>\n\u003cp>“This is by far the most ambitious thing I’ve ever done,” says director Ezra Reaves, who has a background in immersive theater. “Every element needs so much more time than a traditional play because we have to build it out in extreme detail.”\u003c/p>\n\u003cfigure id=\"attachment_13971235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed.jpg\" alt=\"people look at person speaking, holding hands in emphasis, in a table-filled space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director Ezra Reaves (center) and the cast of ‘Compton’s Cafeteria Riot’ during rehearsal in a Larkin Street storefront converted to look like a 1960s diner. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to drag, live singing, a violent confrontation and harrowing, real stories, \u003ci>Compton’s Cafeteria Riot\u003c/i> comes with the sights, smells and tastes of breakfast (for dinner). The venue’s ongoing transformation from empty concrete box to 1960s diner is remarkable. Set designer \u003ca href=\"https://www.instagram.com/neogirlneon/\">Roxy Rose\u003c/a> is working on a neon sign for the storefront, and helped source the furnishings — booths, a cash register, bar, stools, jukebox and cigarette machine — that give the space its authentic ambiance.\u003c/p>\n\u003cp>Reaves says they brought LeGrande and Personna to Amoeba Records to select songs from the time period. “They picked a lot of Lesley Gore, which I love, and we put in a lot of Dionne Warwick,” Reaves says. “So we’ve got plenty of divas in the show.”\u003c/p>\n\u003cp>It’s been a difficult seven-year journey to bring the play back to audiences, largely due to the pandemic and the team’s commitment to immersive theater, which led to a year of permitting delays. But the importance of the production kept everyone focused on the end goal. “We died on this hill,” Conry says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13971237\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed.jpg\" alt=\"two people stand in front of jukebox looking to right\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jaylyn Abergas (left) and Shane Zaldivar, members of the ‘Compton’s Cafeteria Riot’ cast, rehearse on Jan. 30, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Compton’s Cafeteria Riot\u003c/i> is, Nassar points out proudly, a “trans-centric production.” Conry sees it as an investment in the neighborhood. Reaves echoes the sentiment.\u003c/p>\n\u003cp>“It’s been my mission to not just make a show for entertainment, but to create a community here,” they say. “To create a piece of art that will continue to bring more people into the fold, and ultimately be an engine of creativity and employment for trans people in the community.”\u003c/p>\n\u003cp>As national politicians turn trans rights into a wedge issue, Conry says, works of art like \u003ci>Compton’s Cafeteria Riot\u003c/i> can bridge divides with understanding and empathy. So much of what the museum does — whether through exhibitions, walking tours, or, now, live theater — is about correcting misconceptions drawn from dominant, damaging narratives.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“There’s so many people who think they’ve never met a trans person, so they don’t know anything about their experience,” Conry says. “The arts really have the ability to change people’s hearts and minds. And when you see the play, you’re really there.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In early 2024, the \u003ca href=\"https://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a>’s plans for the future were thrown into thrilling disarray. Executive Director Katie Conry was getting ready to expand from the ground floor into the basement of the Cadillac Hotel, where the museum currently occupies about 3,200 square feet at the corner of Leavenworth and Eddy. \u003c/p>\n\u003cp>Kathy Looper, longtime owner of the Cadillac and the museum’s board president, came over with the news. The childcare center next door had closed. Would Conry be interested in taking a look?\u003c/p>\n\u003cp>“You could see the light bulbs going off in all of our heads as we walked around the space,” Looper remembers. “Much better than a basement.”\u003c/p>\n\u003cp>Underneath an elegant glass ceiling, they surveyed what had once been the hotel’s formal dining room, built in 1907, and later became \u003ca href=\"https://www.sfheritage.org/news/landmark-tuesdays-the-cadillac-hotel/\">Newman’s Gym\u003c/a>, where boxers Muhammad Ali, Jack Dempsey, George Foreman and Sugar Ray Robinson all trained or competed. (The floor still shows the boxing ring’s outline.)\u003c/p>\n\u003cfigure id=\"attachment_13971229\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed.jpg\" alt=\"large indoor space under glass ceiling\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The former childcare center was the Cadillac Hotel’s dining room, and later a boxing gym. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 6,850 square feet, it was so much more space than the museum had ever hoped to gain. And with that space, they could entertain some of their wildest dreams. The opportunity was too good to pass up. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An expansion project would be plenty of work for most museums, especially when so many other San Francisco cultural institutions are struggling with attendance and fundraising. But the Tenderloin Museum is now producing a play, building out an off-site theater venue \u003ci>and\u003c/i> launching a capital campaign that seeks to raise $4.2 million over the next three years. The plan is to open the expanded museum in early 2026. \u003c/p>\n\u003cp>All of this work aims to tell a different, more in-depth story about the Tenderloin — and those who have shaped it.\u003c/p>\n\u003cp>“For me, it’s all about enhancing people’s understanding of the community,” Looper says. “Instead of the Tenderloin being a negative thing, it could be a positive. We are \u003ci>literally\u003c/i> the best cut, the tenderloin of the city.”\u003c/p>\n\u003cfigure id=\"attachment_13971244\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed.jpg\" alt=\"white woman in black poses at table in museum gallery\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Executive Director Katie Conry at the Tenderloin Museum on Jan. 30, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Room for a more nuanced history\u003c/h2>\n\u003cp>If Conry has learned one thing during her decade at the museum, it’s that there is so much more to the Tenderloin than the current displays can capture. The museum’s main gallery covers the neighborhood’s vibrant history as an entertainment zone, immigrant hub and center for numerous social movements. On the ceiling, a delightful three-dimensional light-up map shows the Tenderloin’s buildings and intersections. \u003c/p>\n\u003cp>But in the lobby, just one wall is available for contemporary art shows. Recent history is radically condensed. Space isn’t just an issue for displays, either; staff offices are essentially a closet, making it tricky to have private or sensitive conversations — or solicit donors.\u003c/p>\n\u003cp>With this expansion, the museum will more than triple in size. The permanent exhibition space will move into the old childcare center, to be replaced by a new neon art gallery, with pieces borrowed from Jim Rizzo’s \u003ca href=\"http://www.neonwks.com/\">Neon Works\u003c/a> collection. \u003c/p>\n\u003cfigure id=\"attachment_13971239\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed.jpg\" alt=\"framed photos and text on red patterned wallpaper\" width=\"1999\" height=\"1333\" class=\"size-full wp-image-13971239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">A display in the current main gallery of the Tenderloin Museum. After the expansion, this area will become part of a neon gallery. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two generous galleries behind the permanent exhibition will host contemporary art exhibitions and a long-term installation on South Asian immigrants in the hotel industry. There is also a kitchen, extra bathrooms, a future youth-focused library, and plenty of room to host private events (and hopefully bring in additional revenue). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On a tour through the emptied-out childcare center, which still boasts a diminutive door next to an adult-sized one, the word that kept coming out of my mouth was, “Wow.”\u003c/p>\n\u003cp>The museum hopes to be closed for only the loudest part of the construction process — just a month or two, this spring. And despite the challenges ahead, Conry is optimistic they can buck local trends, which see San Francisco museums closing either temporarily or permanently. “I think we’re a unique space that has a dedicated following,” she says. “We’re able to be a bit more nimble than the larger organizations.”\u003c/p>\n\u003cp>That said, she wants the museum to be even more financially stable. Enter, stage left, another income stream: \u003ca href=\"https://www.comptonscafeteriariot.com/\">an ambitious play\u003c/a> based on the indelible neighborhood story of the Compton’s Cafeteria riot.\u003c/p>\n\u003cfigure id=\"attachment_13971242\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed.jpg\" alt=\"person looks at notebook of dialogue while holding chin\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director Ezra Reaves works with the cast of ‘Compton’s Cafeteria Riot’ during a rehearsal on Jan. 30, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Art in service of a larger goal\u003c/h2>\n\u003cp>Five blocks away from the museum, an energetic team of theater professionals is rehearsing lines, blocking fight choreography and turning 835 Larkin St. into a semi-functional 1960s diner. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The play, written by Collette LeGrande, Mark Nassar and Donna Personna, initially premiered at \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\">New Village Cafe in 2018\u003c/a> and sold out its two-month-plus run.\u003c/p>\n\u003cp>\u003ci>Compton’s Cafeteria Riot\u003c/i> takes place on an August night in 1966, at a 24-hour diner on the corner of Turk and Taylor. There, fed-up trans women, drag queens and sex workers rebelled in what \u003ca href=\"https://www.kqed.org/arts/11838357/in-66-on-one-hot-august-night-trans-women-fought-for-their-rights\">historian Susan Stryker\u003c/a> identifies as the “first known instance of collective militant queer resistance to police harassment in United States history.”\u003c/p>\n\u003cp>The play, drawn largely from LeGrande and Personna’s own experiences, collapses the distance between audience and performer, lived history and theatrical retelling. Action takes place throughout the diner as audience members sit elbow-to-elbow with actors, or get a plate of pancakes from them.\u003c/p>\n\u003cp>“This is by far the most ambitious thing I’ve ever done,” says director Ezra Reaves, who has a background in immersive theater. “Every element needs so much more time than a traditional play because we have to build it out in extreme detail.”\u003c/p>\n\u003cfigure id=\"attachment_13971235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed.jpg\" alt=\"people look at person speaking, holding hands in emphasis, in a table-filled space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director Ezra Reaves (center) and the cast of ‘Compton’s Cafeteria Riot’ during rehearsal in a Larkin Street storefront converted to look like a 1960s diner. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to drag, live singing, a violent confrontation and harrowing, real stories, \u003ci>Compton’s Cafeteria Riot\u003c/i> comes with the sights, smells and tastes of breakfast (for dinner). The venue’s ongoing transformation from empty concrete box to 1960s diner is remarkable. Set designer \u003ca href=\"https://www.instagram.com/neogirlneon/\">Roxy Rose\u003c/a> is working on a neon sign for the storefront, and helped source the furnishings — booths, a cash register, bar, stools, jukebox and cigarette machine — that give the space its authentic ambiance.\u003c/p>\n\u003cp>Reaves says they brought LeGrande and Personna to Amoeba Records to select songs from the time period. “They picked a lot of Lesley Gore, which I love, and we put in a lot of Dionne Warwick,” Reaves says. “So we’ve got plenty of divas in the show.”\u003c/p>\n\u003cp>It’s been a difficult seven-year journey to bring the play back to audiences, largely due to the pandemic and the team’s commitment to immersive theater, which led to a year of permitting delays. But the importance of the production kept everyone focused on the end goal. “We died on this hill,” Conry says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13971237\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed.jpg\" alt=\"two people stand in front of jukebox looking to right\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jaylyn Abergas (left) and Shane Zaldivar, members of the ‘Compton’s Cafeteria Riot’ cast, rehearse on Jan. 30, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Compton’s Cafeteria Riot\u003c/i> is, Nassar points out proudly, a “trans-centric production.” Conry sees it as an investment in the neighborhood. Reaves echoes the sentiment.\u003c/p>\n\u003cp>“It’s been my mission to not just make a show for entertainment, but to create a community here,” they say. “To create a piece of art that will continue to bring more people into the fold, and ultimately be an engine of creativity and employment for trans people in the community.”\u003c/p>\n\u003cp>As national politicians turn trans rights into a wedge issue, Conry says, works of art like \u003ci>Compton’s Cafeteria Riot\u003c/i> can bridge divides with understanding and empathy. So much of what the museum does — whether through exhibitions, walking tours, or, now, live theater — is about correcting misconceptions drawn from dominant, damaging narratives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s so many people who think they’ve never met a trans person, so they don’t know anything about their experience,” Conry says. “The arts really have the ability to change people’s hearts and minds. And when you see the play, you’re really there.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Love Letter to the Tenderloin, In Photographs",
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"content": "\u003cp>Descriptions of the Tenderloin have long been seeped in negativity. This was happening long before the past couple years, when Fox News has reported streets full of “zombies roaming” and the \u003cem>Daily Mail\u003c/em> blamed the TL and Civic Center for making San Francisco “a byword for \u003ca href=\"https://www.kqed.org/news/11952285/from-the-vault-when-the-tenderloins-addiction-crisis-goes-viral\">drug taking\u003c/a> … and associated crime.” Even back in 1977, San Francisco’s own\u003cem> Examiner \u003c/em>newspaper had an entire series that described the Tenderloin as “hell at your doorstep.” That same publication referred to the neighborhood as “the shady part of town” all the way back in 1897.\u003c/p>\n\u003cp>[aside postid='arts_13935330']For the people that regularly frequent, live in and/or still love the Tenderloin and mid-Market neighborhoods, these widely distributed, one-note perceptions of the area are frustrating and frequently worthy of an eye-roll. Outsiders are all too often willing to focus on the worst rather than appreciate the Tenderloin’s small businesses, \u003ca href=\"https://www.kqed.org/arts/13916794/azalina-malaysian-restaurant-reopening-tenderloin\">tasty restaurants\u003c/a>, fun bars, \u003ca href=\"https://www.kqed.org/pop/103422/rebel-girls-from-bay-area-history-ruth-brinker-aids-activist\">long-standing charitable organizations\u003c/a> and interesting \u003ca href=\"https://www.kqed.org/arts/13935933/counterpulse-vivvyanne-forevermore-drag-the-show\">local characters\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13936209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936209\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg\" alt=\"A senior man with white hair and receding hairline pours a drink from behind a small, old-fashioned bar. He is wearing a white short-sleeved shirt and black pants. The bar is full of Christmas lights and lined with mirrors. There are three or four patrons seated at the bar.\" width=\"1920\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1536x1053.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Aunt Charlie’s Lounge, Turk Street, Tenderloin District, San Francisco 2016’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter photographic hero \u003ca href=\"https://www.flickr.com/photos/daveglass/albums\">Dave Glass.\u003c/a> He’s a San Francisco local that has long documented neighborhoods — and, crucially, the mix of people within them — across the city. Glass had the good sense to spend decades documenting the Tenderloin and Civic Center, and his new exhibition, \u003cem>Central City 1960-2016, \u003c/em>reflects an appreciation for those neighborhoods right when it’s needed most. Right when, let’s be frank, so many people have nothing good to say about the area at all.\u003c/p>\n\u003cp>In the exhibition, on view at the \u003ca href=\"http://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a> through the end of the year, Glass only has 14 images on display — nine in black and white, five in color. But each is potent, and the collection is carefully curated to reflect the broad swath of life that has always existed in the neighborhood. Cool kids on street corners, anti-war protesters, a smiling baby in a Volvo driver’s seat, a stoic Polk Street watch repairman. They all exist alongside old neighborhood bars and their patrons, liquor store foot traffic, and cops lined up on Market near Sixth.\u003c/p>\n\u003cfigure id=\"attachment_13936208\" class=\"wp-caption aligncenter\" style=\"max-width: 1842px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png\" alt=\"A line of motorcycle cops block off the entire street. Barricades hold back crowds on the sidewalk behind them. A cinema promises LIVE NUDE GIRLS from its marquee.\" width=\"1842\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png 1842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1536x1024.png 1536w\" sizes=\"(max-width: 1842px) 100vw, 1842px\">\u003cfigcaption class=\"wp-caption-text\">‘Market Street Cinema 1985’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though small, \u003cem>Central City\u003c/em> is a fuller — and fairer — picture of the Tenderloin and mid-Market than most of the country is afforded right now. Glass’ black and white images are the most striking, too, in part because, at a glance, they all appear to be from the same era — despite them spanning 45 years of street life.\u003c/p>\n\u003cp>Through Glass’ lens, the Tenderloin and its surrounding streets become timeless. There is something undeniably beautiful about that — especially while so much of the country is still talking smack about them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.tenderloinmuseum.org/dave-glass-central-city-1970-2016\">Dave Glass: Central City 1970-2016\u003c/a>’ is on view at the Tenderloin Museum (398 Eddy St.) until Dec. 30, 2023. Glass will appear in conversation at the museum with \u003ca href=\"http://www.adrianmrtnz.com/\">Adrian Martinez\u003c/a> and \u003ca href=\"https://www.austinleong.com/\">Austin Leong\u003c/a> on at 5:30 p.m. on Dec. 7 .\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Descriptions of the Tenderloin have long been seeped in negativity. This was happening long before the past couple years, when Fox News has reported streets full of “zombies roaming” and the \u003cem>Daily Mail\u003c/em> blamed the TL and Civic Center for making San Francisco “a byword for \u003ca href=\"https://www.kqed.org/news/11952285/from-the-vault-when-the-tenderloins-addiction-crisis-goes-viral\">drug taking\u003c/a> … and associated crime.” Even back in 1977, San Francisco’s own\u003cem> Examiner \u003c/em>newspaper had an entire series that described the Tenderloin as “hell at your doorstep.” That same publication referred to the neighborhood as “the shady part of town” all the way back in 1897.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For the people that regularly frequent, live in and/or still love the Tenderloin and mid-Market neighborhoods, these widely distributed, one-note perceptions of the area are frustrating and frequently worthy of an eye-roll. Outsiders are all too often willing to focus on the worst rather than appreciate the Tenderloin’s small businesses, \u003ca href=\"https://www.kqed.org/arts/13916794/azalina-malaysian-restaurant-reopening-tenderloin\">tasty restaurants\u003c/a>, fun bars, \u003ca href=\"https://www.kqed.org/pop/103422/rebel-girls-from-bay-area-history-ruth-brinker-aids-activist\">long-standing charitable organizations\u003c/a> and interesting \u003ca href=\"https://www.kqed.org/arts/13935933/counterpulse-vivvyanne-forevermore-drag-the-show\">local characters\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13936209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936209\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg\" alt=\"A senior man with white hair and receding hairline pours a drink from behind a small, old-fashioned bar. He is wearing a white short-sleeved shirt and black pants. The bar is full of Christmas lights and lined with mirrors. There are three or four patrons seated at the bar.\" width=\"1920\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1536x1053.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Aunt Charlie’s Lounge, Turk Street, Tenderloin District, San Francisco 2016’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter photographic hero \u003ca href=\"https://www.flickr.com/photos/daveglass/albums\">Dave Glass.\u003c/a> He’s a San Francisco local that has long documented neighborhoods — and, crucially, the mix of people within them — across the city. Glass had the good sense to spend decades documenting the Tenderloin and Civic Center, and his new exhibition, \u003cem>Central City 1960-2016, \u003c/em>reflects an appreciation for those neighborhoods right when it’s needed most. Right when, let’s be frank, so many people have nothing good to say about the area at all.\u003c/p>\n\u003cp>In the exhibition, on view at the \u003ca href=\"http://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a> through the end of the year, Glass only has 14 images on display — nine in black and white, five in color. But each is potent, and the collection is carefully curated to reflect the broad swath of life that has always existed in the neighborhood. Cool kids on street corners, anti-war protesters, a smiling baby in a Volvo driver’s seat, a stoic Polk Street watch repairman. They all exist alongside old neighborhood bars and their patrons, liquor store foot traffic, and cops lined up on Market near Sixth.\u003c/p>\n\u003cfigure id=\"attachment_13936208\" class=\"wp-caption aligncenter\" style=\"max-width: 1842px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png\" alt=\"A line of motorcycle cops block off the entire street. Barricades hold back crowds on the sidewalk behind them. A cinema promises LIVE NUDE GIRLS from its marquee.\" width=\"1842\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png 1842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1536x1024.png 1536w\" sizes=\"(max-width: 1842px) 100vw, 1842px\">\u003cfigcaption class=\"wp-caption-text\">‘Market Street Cinema 1985’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though small, \u003cem>Central City\u003c/em> is a fuller — and fairer — picture of the Tenderloin and mid-Market than most of the country is afforded right now. Glass’ black and white images are the most striking, too, in part because, at a glance, they all appear to be from the same era — despite them spanning 45 years of street life.\u003c/p>\n\u003cp>Through Glass’ lens, the Tenderloin and its surrounding streets become timeless. There is something undeniably beautiful about that — especially while so much of the country is still talking smack about them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.tenderloinmuseum.org/dave-glass-central-city-1970-2016\">Dave Glass: Central City 1970-2016\u003c/a>’ is on view at the Tenderloin Museum (398 Eddy St.) until Dec. 30, 2023. Glass will appear in conversation at the museum with \u003ca href=\"http://www.adrianmrtnz.com/\">Adrian Martinez\u003c/a> and \u003ca href=\"https://www.austinleong.com/\">Austin Leong\u003c/a> on at 5:30 p.m. on Dec. 7 .\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Éamon McGivern’s ‘Trans Portrait Project’ Reflects a Luminous Community",
"headTitle": "Éamon McGivern’s ‘Trans Portrait Project’ Reflects a Luminous Community | KQED",
"content": "\u003cp>There is a luminosity in \u003ca href=\"https://www.instagram.com/e_mcgivern\">Éamon McGivern\u003c/a>’s paintings that is impossible to capture in photographs. \u003cem>Still Lives, a Trans Portrait Project\u003c/em> is a collection of seven of McGivern’s large-scale paintings that depict the everyday lives of transgender people in the Bay Area. Each of the portraits radiates a warmth and joy that is infectious; they are testaments to the love and adoration McGivern feels for his community.\u003c/p>\n\u003cp>McGivern’s subjects are happy couples at home, at the beach and in comedic embraces. We see a hair stylist and tattoo artist lost in their work. Oakland artist \u003ca href=\"http://www.leilaweefur.com/\">Leila Weefur\u003c/a> is captured in a moment of stillness on a night out. McGivern’s own self-portrait, shirtless and smoking at Ocean Beach, is the very picture of defiant self confidence, top surgery scars proudly on display.\u003c/p>\n\u003cfigure id=\"attachment_13921375\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Eamon-McGivern-Self-Portrait-800x1101.jpg\" alt=\"A painting of a shirtless, tattooed, smoking man wearing a baseball cap pushed back over shaggy hair. He is standing on the beach, under a blue sky and in front of a graffiti covered wall and buildings off in the distance.\" width=\"800\" height=\"1101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-Self-Portrait-800x1101.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-Self-Portrait-1020x1404.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-Self-Portrait-160x220.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-Self-Portrait-768x1057.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-Self-Portrait-1116x1536.jpg 1116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-Self-Portrait.jpg 1331w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Éamon McGivern’s self-portrait, as seen in ‘Still Lives, a Trans Portrait Project.’ \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Éamon McGivern’s name and work call to mind the British figurative artist \u003ca href=\"https://www.eamonnmcgovern.com/\" rel=\"noopener noreferrer\">Eamonn McGovern\u003c/a>, who also specializes in transforming everyday scenes into something incandescent. But McGivern’s work carries the extra punch of being a glorious rebuttal to the perpetual othering that trans people live with.\u003c/p>\n\u003cp>“This series of paintings was initially intended as a testament to trans joy and the joy of trans community,” McGivern says. “Looking at the finished work, it feels more like a collection of ordinary people living our lives under a regime that, when it allows us to live at all, works to exclude us from public life. Perhaps it is both, and more besides.”\u003c/p>\n\u003cfigure id=\"attachment_13921377\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921377\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Eamon-McGivern-TJ-Giving-Jamie-a-Tattoo-800x968.jpeg\" alt=\"A painting that closely resembles a photo, depicting a man receiving a leg tattoo from another. They are both wearing surgical masks.\" width=\"800\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-TJ-Giving-Jamie-a-Tattoo-800x968.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-TJ-Giving-Jamie-a-Tattoo-1020x1235.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-TJ-Giving-Jamie-a-Tattoo-160x194.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-TJ-Giving-Jamie-a-Tattoo-768x930.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-TJ-Giving-Jamie-a-Tattoo-1269x1536.jpeg 1269w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-TJ-Giving-Jamie-a-Tattoo-1692x2048.jpeg 1692w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-TJ-Giving-Jamie-a-Tattoo-1920x2324.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘TJ Giving Jamie a Tattoo,’ one of Éamon McGivern’s paintings for his show ‘Still Lives, a Trans Portrait Project.’ \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The number of paintings in \u003cem>Still Lives, a Trans Portrait Project\u003c/em> may be small, but the scale of the work, and the attention to detail in each, carries a sizable impact. (A painstaking rendition of \u003ca href=\"https://www.instagram.com/t_bird404/?hl=en\">Tony Jackson\u003c/a> tattooing a client at Rose and Thorn Tattoo in the Mission is the most hyperreal and mesmerizing of them all.) These portraits contain multitudes; they are short stories captured within fleeting moments. There’s nothing ‘still’ about them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Éamon McGivern’s ‘Still Lives, a Trans Portrait Project’ is on view at The Tenderloin Museum (398 Eddy St., San Francisco) through Jan. 7, 2023. \u003ca href=\"http://www.tenderloinmuseum.org/public-programs-2022-2/2022/10/19/eamon-mcgivern-still-lives-a-trans-portrait-project?mc_cid=0887f5bbb1&mc_eid=4f9cd40644\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a luminosity in \u003ca href=\"https://www.instagram.com/e_mcgivern\">Éamon McGivern\u003c/a>’s paintings that is impossible to capture in photographs. \u003cem>Still Lives, a Trans Portrait Project\u003c/em> is a collection of seven of McGivern’s large-scale paintings that depict the everyday lives of transgender people in the Bay Area. Each of the portraits radiates a warmth and joy that is infectious; they are testaments to the love and adoration McGivern feels for his community.\u003c/p>\n\u003cp>McGivern’s subjects are happy couples at home, at the beach and in comedic embraces. We see a hair stylist and tattoo artist lost in their work. Oakland artist \u003ca href=\"http://www.leilaweefur.com/\">Leila Weefur\u003c/a> is captured in a moment of stillness on a night out. McGivern’s own self-portrait, shirtless and smoking at Ocean Beach, is the very picture of defiant self confidence, top surgery scars proudly on display.\u003c/p>\n\u003cfigure id=\"attachment_13921375\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Eamon-McGivern-Self-Portrait-800x1101.jpg\" alt=\"A painting of a shirtless, tattooed, smoking man wearing a baseball cap pushed back over shaggy hair. He is standing on the beach, under a blue sky and in front of a graffiti covered wall and buildings off in the distance.\" width=\"800\" height=\"1101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-Self-Portrait-800x1101.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-Self-Portrait-1020x1404.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-Self-Portrait-160x220.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-Self-Portrait-768x1057.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-Self-Portrait-1116x1536.jpg 1116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-Self-Portrait.jpg 1331w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Éamon McGivern’s self-portrait, as seen in ‘Still Lives, a Trans Portrait Project.’ \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Éamon McGivern’s name and work call to mind the British figurative artist \u003ca href=\"https://www.eamonnmcgovern.com/\" rel=\"noopener noreferrer\">Eamonn McGovern\u003c/a>, who also specializes in transforming everyday scenes into something incandescent. But McGivern’s work carries the extra punch of being a glorious rebuttal to the perpetual othering that trans people live with.\u003c/p>\n\u003cp>“This series of paintings was initially intended as a testament to trans joy and the joy of trans community,” McGivern says. “Looking at the finished work, it feels more like a collection of ordinary people living our lives under a regime that, when it allows us to live at all, works to exclude us from public life. Perhaps it is both, and more besides.”\u003c/p>\n\u003cfigure id=\"attachment_13921377\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921377\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Eamon-McGivern-TJ-Giving-Jamie-a-Tattoo-800x968.jpeg\" alt=\"A painting that closely resembles a photo, depicting a man receiving a leg tattoo from another. They are both wearing surgical masks.\" width=\"800\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-TJ-Giving-Jamie-a-Tattoo-800x968.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-TJ-Giving-Jamie-a-Tattoo-1020x1235.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-TJ-Giving-Jamie-a-Tattoo-160x194.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-TJ-Giving-Jamie-a-Tattoo-768x930.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-TJ-Giving-Jamie-a-Tattoo-1269x1536.jpeg 1269w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-TJ-Giving-Jamie-a-Tattoo-1692x2048.jpeg 1692w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eamon-McGivern-TJ-Giving-Jamie-a-Tattoo-1920x2324.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘TJ Giving Jamie a Tattoo,’ one of Éamon McGivern’s paintings for his show ‘Still Lives, a Trans Portrait Project.’ \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The number of paintings in \u003cem>Still Lives, a Trans Portrait Project\u003c/em> may be small, but the scale of the work, and the attention to detail in each, carries a sizable impact. (A painstaking rendition of \u003ca href=\"https://www.instagram.com/t_bird404/?hl=en\">Tony Jackson\u003c/a> tattooing a client at Rose and Thorn Tattoo in the Mission is the most hyperreal and mesmerizing of them all.) These portraits contain multitudes; they are short stories captured within fleeting moments. There’s nothing ‘still’ about them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Éamon McGivern’s ‘Still Lives, a Trans Portrait Project’ is on view at The Tenderloin Museum (398 Eddy St., San Francisco) through Jan. 7, 2023. \u003ca href=\"http://www.tenderloinmuseum.org/public-programs-2022-2/2022/10/19/eamon-mcgivern-still-lives-a-trans-portrait-project?mc_cid=0887f5bbb1&mc_eid=4f9cd40644\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003cem>Punk/Performance in the ’Loin\u003c/em> exhibit carries the unusual trait of being simultaneously far too much and not nearly enough.\u003c/p>\n\u003cp>Not nearly enough, because, aside from a small collection of flyers and three (wonderful as usual) \u003ca href=\"https://www.jeannemhansen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeanne Hansen\u003c/a> photos, there’s not much to look at. (Four screens playing experimental clips on a loop are alluring for only a matter of minutes.)\u003c/p>\n\u003cp>[aside postid='arts_13902953']Far too much because the core of the show is 13 hours of uncut video interviews, which would be a challenge to watch even from the comfort of one’s own living room. In the Tenderloin Museum, that task is even more herculean due to the format: small wall-mounted screens attached to very basic headphones with fairly short cords. The couple of chairs made available to viewers are as uninviting as the headwear.\u003c/p>\n\u003cp>That’s not to say that these interviews—all conducted by videographer Dale Hoyt—aren’t worth your time. Subjects include 15 musicians and rabble-rousers from San Francisco’s often overlooked ’80s underground punk scene. Each one is a character. All have anecdotes of the grime and danger and joy and rebellion they witnessed in the city during the period.\u003c/p>\n\u003cp>Interested parties might be tempted to expedite their visit by focusing on only one or two subjects—Ted Falcone from Flipper, say, or Connie Champagne from The Mutants. Winston Tong from Tuxedomoon perhaps. But honestly, some of the most compelling content comes from the lesser-known interviewees.\u003c/p>\n\u003cfigure id=\"attachment_13913219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913219\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-800x1067.jpg\" alt=\"Three small flat screens mounted on a wall covered haphazardly with old punk flyers. Wires dangle from the screens.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top) Ted Falcone of Flipper, (Middle) Connie Champagne of the Mutants, (Bottom) Dave ‘Dog’ Swan of Longshoremen all appear on separate small screens at ‘Punk/Performance in the ‘Loin’ at the Tenderloin Museum. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Record producer John Coon shares tales of filth from the DNA Lounge. Frightwig’s Mia d’Bruzzi talks poignantly about addiction in the punk scene, and how she grappled with her own. Dominique Leslie from Animal Things shares her great love of the Tenderloin—back in the day and now. (Leslie’s anecdotes about lovable oddballs in the neighborhood are a reminder of what still makes the TL special.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the end, the best approach to \u003cem>Punk/Performance in the ’Loin\u003c/em> is to treat the video interviews as you would eavesdropping at a party. You’re never going to understand every element of the conversation you’re dipping into, and not everyone is going to hold your interest. But now and again, you’ll strike gold and pick up a conversational thread at just the right time. Luck out, and you’ll find yourself enthralled.\u003c/p>\n\u003cp>[aside postid='arts_13894169']Does the formatting of these videos sound unfinished? It is. Dale Hoyt—who himself is the subject of one of the videos in the exhibit—fell terminally ill very soon after completing all the interviews for \u003cem>Punk/Performance in the ’Loin\u003c/em>. Not well enough to give them the editing treatment himself, he asked that the interviews be presented in their raw, unedited form. The Tenderloin Museum is honoring that last wish. Hoyt died just three weeks before the exhibit went up, and its opening reception more closely resembled a celebration of life than an art show.\u003c/p>\n\u003cp>If hearing each interview in its entirety feels like a necessity—or the best way to remember Hoyt—sit tight. Each of them will be available after the exhibit, on the Tenderloin Museum’s \u003ca href=\"https://www.youtube.com/channel/UCAXQnYBYED9UxY8A_VMZGmA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube page\u003c/a>. In the meantime, try and enjoy \u003cem>Punk/Performance in the ’Loin\u003c/em> as a reflection of San Francisco’s ’80s punk scene as it was—chaotic, messy, and a labor of love for everyone involved.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Punk/Performance in the ’Loin’ is on display at the Tenderloin Museum through July 2. \u003ca href=\"http://www.tenderloinmuseum.org/tlm-art-gallery-on-view\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>In collaboration with the exhibit, Flipper, The Mutants and Longshoremen are performing at Great American Music Hall on Thursday, May 26 at 8pm. \u003ca href=\"https://wl.seetickets.us/event/Flipper-withFletcherofTheGarden/471968?afflky=GreatAmericanMusicHall\" target=\"_blank\" rel=\"noopener noreferrer\">Concert details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Tenderloin Museum is also holding a screening of Dale Hoyt’s work, titled ‘Once Upon a Time in the TL: Punk/Performance on Screen’ on Thursday, June 23, starting at 6:30pm. \u003ca href=\"http://www.tenderloinmuseum.org/public-programs-2022-1/2022/6/23/once-upon-a-time-sfcinematheque\" target=\"_blank\" rel=\"noopener noreferrer\">Screening details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Far too much because the core of the show is 13 hours of uncut video interviews, which would be a challenge to watch even from the comfort of one’s own living room. In the Tenderloin Museum, that task is even more herculean due to the format: small wall-mounted screens attached to very basic headphones with fairly short cords. The couple of chairs made available to viewers are as uninviting as the headwear.\u003c/p>\n\u003cp>That’s not to say that these interviews—all conducted by videographer Dale Hoyt—aren’t worth your time. Subjects include 15 musicians and rabble-rousers from San Francisco’s often overlooked ’80s underground punk scene. Each one is a character. All have anecdotes of the grime and danger and joy and rebellion they witnessed in the city during the period.\u003c/p>\n\u003cp>Interested parties might be tempted to expedite their visit by focusing on only one or two subjects—Ted Falcone from Flipper, say, or Connie Champagne from The Mutants. Winston Tong from Tuxedomoon perhaps. But honestly, some of the most compelling content comes from the lesser-known interviewees.\u003c/p>\n\u003cfigure id=\"attachment_13913219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913219\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-800x1067.jpg\" alt=\"Three small flat screens mounted on a wall covered haphazardly with old punk flyers. Wires dangle from the screens.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top) Ted Falcone of Flipper, (Middle) Connie Champagne of the Mutants, (Bottom) Dave ‘Dog’ Swan of Longshoremen all appear on separate small screens at ‘Punk/Performance in the ‘Loin’ at the Tenderloin Museum. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Record producer John Coon shares tales of filth from the DNA Lounge. Frightwig’s Mia d’Bruzzi talks poignantly about addiction in the punk scene, and how she grappled with her own. Dominique Leslie from Animal Things shares her great love of the Tenderloin—back in the day and now. (Leslie’s anecdotes about lovable oddballs in the neighborhood are a reminder of what still makes the TL special.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the end, the best approach to \u003cem>Punk/Performance in the ’Loin\u003c/em> is to treat the video interviews as you would eavesdropping at a party. You’re never going to understand every element of the conversation you’re dipping into, and not everyone is going to hold your interest. But now and again, you’ll strike gold and pick up a conversational thread at just the right time. Luck out, and you’ll find yourself enthralled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Does the formatting of these videos sound unfinished? It is. Dale Hoyt—who himself is the subject of one of the videos in the exhibit—fell terminally ill very soon after completing all the interviews for \u003cem>Punk/Performance in the ’Loin\u003c/em>. Not well enough to give them the editing treatment himself, he asked that the interviews be presented in their raw, unedited form. The Tenderloin Museum is honoring that last wish. Hoyt died just three weeks before the exhibit went up, and its opening reception more closely resembled a celebration of life than an art show.\u003c/p>\n\u003cp>If hearing each interview in its entirety feels like a necessity—or the best way to remember Hoyt—sit tight. Each of them will be available after the exhibit, on the Tenderloin Museum’s \u003ca href=\"https://www.youtube.com/channel/UCAXQnYBYED9UxY8A_VMZGmA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube page\u003c/a>. In the meantime, try and enjoy \u003cem>Punk/Performance in the ’Loin\u003c/em> as a reflection of San Francisco’s ’80s punk scene as it was—chaotic, messy, and a labor of love for everyone involved.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Punk/Performance in the ’Loin’ is on display at the Tenderloin Museum through July 2. \u003ca href=\"http://www.tenderloinmuseum.org/tlm-art-gallery-on-view\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>In collaboration with the exhibit, Flipper, The Mutants and Longshoremen are performing at Great American Music Hall on Thursday, May 26 at 8pm. \u003ca href=\"https://wl.seetickets.us/event/Flipper-withFletcherofTheGarden/471968?afflky=GreatAmericanMusicHall\" target=\"_blank\" rel=\"noopener noreferrer\">Concert details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Tenderloin Museum is also holding a screening of Dale Hoyt’s work, titled ‘Once Upon a Time in the TL: Punk/Performance on Screen’ on Thursday, June 23, starting at 6:30pm. \u003ca href=\"http://www.tenderloinmuseum.org/public-programs-2022-1/2022/6/23/once-upon-a-time-sfcinematheque\" target=\"_blank\" rel=\"noopener noreferrer\">Screening details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Noir and Neon: A Match Made in San Francisco",
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"content": "\u003cp>San Francisco film noir isn’t just about darkness, as two online events hosted by the Tenderloin Museum this month prove. Led by SF Neon’s Al Barna and Randall Ann Homan and Jim Van Buskirk, co-author of \u003ci>Celluloid San Francisco: The Film Lover’s Guide to Bay Area Movie Locations\u003c/i>, “Cinematic San Francisco Neon” shows excerpts from seven decade’ worth of films lit with the eerie glow of the city’s once-ubiquitous neon lights.\u003c/p>\n\u003cp>This Thursday, May 13 at 6:45pm, the \u003ca href=\"http://www.tenderloinmuseum.org/events/cinematic-sf-neon\" rel=\"noopener noreferrer\" target=\"_blank\">first program\u003c/a>, spanning films made 1947–1957, features the noir \u003ci>Dark Passage\u003c/i> (the beginning of which is shot POV through the eyes of a prison escapee who \u003ci>becomes\u003c/i> Humphrey Bogart only after plastic surgery) and Alfred Hitchcock’s well-recognized classic \u003ci>Vertigo\u003c/i>. \u003c/p>\n\u003cp>Because of what Barna and Homan say was “abundance of exciting material we’ve discovered in our research,” a \u003ca href=\"http://www.tenderloinmuseum.org/events/pal-joey-to-big-eyes\" rel=\"noopener noreferrer\" target=\"_blank\">second presentation\u003c/a> takes place two weeks later, on Thursday, May 27, to include films from 1957 through 2014, including the 1957 musical \u003ci>Pal Joey\u003c/i> and Tim Burton’s Margaret Keane biopic \u003ci>Big Eyes\u003c/i>, recently made but set in San Francisco of the past.\u003c/p>\n\u003cp>The events serve as the finale to Seasons of Neon, a series of talks and tours put on by the Tenderloin Museum and SF Neon that focused on the neighborhood as the site of the “densest concentration of extant neon in the Bay Area.” “Cinematic San Francisco Neon” is reminder of everything these still-buzzing signs convey: bygone businesses, reemerging nightlife, and the stories behind them all.\u003c/p>\n\u003cp>\u003ci>Registration is required to attend both events on Zoom, which are free with a suggested donation of $10. \u003ca href=\"http://www.tenderloinmuseum.org/events\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco film noir isn’t just about darkness, as two online events hosted by the Tenderloin Museum this month prove. Led by SF Neon’s Al Barna and Randall Ann Homan and Jim Van Buskirk, co-author of \u003ci>Celluloid San Francisco: The Film Lover’s Guide to Bay Area Movie Locations\u003c/i>, “Cinematic San Francisco Neon” shows excerpts from seven decade’ worth of films lit with the eerie glow of the city’s once-ubiquitous neon lights.\u003c/p>\n\u003cp>This Thursday, May 13 at 6:45pm, the \u003ca href=\"http://www.tenderloinmuseum.org/events/cinematic-sf-neon\" rel=\"noopener noreferrer\" target=\"_blank\">first program\u003c/a>, spanning films made 1947–1957, features the noir \u003ci>Dark Passage\u003c/i> (the beginning of which is shot POV through the eyes of a prison escapee who \u003ci>becomes\u003c/i> Humphrey Bogart only after plastic surgery) and Alfred Hitchcock’s well-recognized classic \u003ci>Vertigo\u003c/i>. \u003c/p>\n\u003cp>Because of what Barna and Homan say was “abundance of exciting material we’ve discovered in our research,” a \u003ca href=\"http://www.tenderloinmuseum.org/events/pal-joey-to-big-eyes\" rel=\"noopener noreferrer\" target=\"_blank\">second presentation\u003c/a> takes place two weeks later, on Thursday, May 27, to include films from 1957 through 2014, including the 1957 musical \u003ci>Pal Joey\u003c/i> and Tim Burton’s Margaret Keane biopic \u003ci>Big Eyes\u003c/i>, recently made but set in San Francisco of the past.\u003c/p>\n\u003cp>The events serve as the finale to Seasons of Neon, a series of talks and tours put on by the Tenderloin Museum and SF Neon that focused on the neighborhood as the site of the “densest concentration of extant neon in the Bay Area.” “Cinematic San Francisco Neon” is reminder of everything these still-buzzing signs convey: bygone businesses, reemerging nightlife, and the stories behind them all.\u003c/p>\n\u003cp>\u003ci>Registration is required to attend both events on Zoom, which are free with a suggested donation of $10. \u003ca href=\"http://www.tenderloinmuseum.org/events\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In 2012 \u003ca href=\"http://www.marissapatriceleitman.com/\">Marissa Patrice Leitman\u003c/a> started going to Aunt Charlie’s, a narrow hallway of a bar in the Tenderloin district, for High Fantasy, the lawless, now-defunct Tuesday drag night, with a hulking film camera and a long flash cord. Her documentation of the neighborhood’s last working-class gay bar in the years since shows intimate, sustained attention to a site of revelry and tenderness, release and hurt. The freelance photographer and cofounding director of artist-run performance space Hit Gallery developed a style in tandem with her deepening relationship to the bar’s community, showing how the boundaries between audience and performer eroded in riotous and sometimes subtle collective acts of self-discovery.\u003c/p>\n\u003cp>The pictures, some of which recently appeared in a \u003ca href=\"https://www.nightedlife.com/shop/everything\">book\u003c/a> published by Nighted Life, compose \u003cem>There Will Always Be Roses in San Francisco\u003c/em>, the latest in a series of Aunt Charlie’s-themed exhibitions at the \u003ca href=\"http://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a>. Ahead of the show, which opens Thursday, Oct. 3 and runs through Sunday, Nov. 3, Leitman reflected on photographing the High Fantasy drag scene, and how it changed her own life. The conversation has been edited for concision and clarity. \u003c/p>\n\u003cfigure id=\"attachment_13866946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-800x778.jpg\" alt=\"Brittany Newell performs at High Fantasy, at Aunt Charlie's in the Tenderloin.\" width=\"800\" height=\"778\" class=\"size-medium wp-image-13866946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-800x778.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-768x747.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-1020x992.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-1200x1168.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittany Newell performs at High Fantasy, at Aunt Charlie’s in the Tenderloin. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you tell me about your introduction to Aunt Charlie’s?\u003c/strong>\u003c/p>\n\u003cp>It was in a stalker way: I knew about it before I moved to San Francisco from musicians and drag performers. On my first night, Colin Self performed. Sometimes it’s dead-ass empty, only old regulars. Other times people are slammed against the railing—it was one of those nights.\u003c/p>\n\u003cp>\u003cstrong>How did your first impression live up to your preconceived notion of the place?\u003c/strong>\u003c/p>\n\u003cp>It was ten times smaller than I thought, but it met the rest of my expectations. I was totally mystified. It had this esteem, my idea was of a cool, beautiful, glamorous place, and it is that. \u003c/p>\n\u003cp>\u003cstrong>You didn’t start going for a photography project. What attracted you to the community?\u003c/strong>\u003c/p>\n\u003cp>At first it was the façade, everybody acted like a celebrity. Whether or not they had much materially to show, they had the attitude. Later I liked how they would also just let you be. As glamorous and grandiose as it might be, it also has a familial, humble vibe. That comes from the bar historically—it’s the oldest gay bar in the Tenderloin, people there lived through AIDS. \u003c/p>\n\u003cp>High Fantasy specifically has traditional, older queens and also younger queens. There’s shade and arguments but not much judgment about whether one generation is better. And there’s drag kings and women who perform as drag queens. There’s no rules and everybody’s interacting. … At the last one, I thought, “If there was an earthquake that’d be fine, I could die here.” \u003c/p>\n\u003cfigure id=\"attachment_13866948\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/316053010008-copy-800x785.jpg\" alt=\"Matia Emsellem at High Fantasy, at Aunt Charlie's in the Tenderloin.\" width=\"800\" height=\"785\" class=\"size-medium wp-image-13866948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy-800x785.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy-768x754.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy-1020x1001.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy-1200x1178.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matia Emsellem at High Fantasy, at Aunt Charlie’s in the Tenderloin. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you earn the trust of the people you photographed?\u003c/strong>\u003c/p>\n\u003cp>I have photography ethics that drive me crazy—I won’t take pictures of people I don’t know. I went to a drag show last night in L.A. to see my friend, and I was getting stink-eye from people who thought I was being pretentious by refusing to take their picture. I’m trying to break some of these rules. I take pictures out of admiration—determining or admitting what I’m attracted to.\u003c/p>\n\u003cp>\u003cstrong>You have a conspicuous camera.\u003c/strong> \u003c/p>\n\u003cp>I purposefully use really big cameras. It’s a Mamiya C330 that makes me look like a steampunk or some kind of Victorian fetishist. It has an extended flash cord, like 20 feet long. I’m not very graceful with it either. I’m stumbling around with this giant cord wrapped around my neck.\u003c/p>\n\u003cp>\u003cstrong>In this setting some people are excited by the camera, right?\u003c/strong>\u003c/p>\n\u003cp>It’s a drag bar so there’s no shortage of vanity, and over time people become comfortable with the object, it has more presence than a point-and-shoot, a ritualistic way of presenting itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13867108\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/MarissaLeitman-800x788.jpg\" alt=\"Marissa Leitman, self-portrait. \" width=\"800\" height=\"788\" class=\"size-medium wp-image-13867108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MarissaLeitman-800x788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MarissaLeitman-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MarissaLeitman-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MarissaLeitman-1020x1005.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MarissaLeitman.jpg 1039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marissa Leitman, self-portrait. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You mentioned your practice being about determining your attractions. How so?\u003c/strong>\u003c/p>\n\u003cp>I wonder how much it’s been sexually, I want it to be more. I have taken 50 pictures of someone I later realized I’m in love with. I’m honest but heavily in denial. Or I’m really emotional, but not good at admitting vulnerability and affections. I struggle to make eye contact even though I’m loud. It’s definitely a romantic thing, it helps me admit romance that’s sexual or not.\u003c/p>\n\u003cp>\u003cstrong>So you’ve learned a lot about yourself through Aunt Charlie’s, it sounds like.\u003c/strong>\u003c/p>\n\u003cp>I think everything. It’s a social boot camp. It’s small yet really glamorous, you have to interact with everybody, and everyone’s performing and expecting you to perform. That coupled with you’re next to the Tenderloin working-class community so there’s a genuine roughness. … Like you asked me earlier, sometimes I do look at photos and realize sexual attractions. But also you begin to understand how the presentation of sexy or sexuality happens—I do photos about that. \u003c/p>\n\u003cp>\u003cstrong>When you say “perform,” you don’t mean doing a set, right?\u003c/strong>\u003c/p>\n\u003cp>Yeah, in the way socializing is performing. There’s no real distinction between the performance that happens in the show and the performance that happens when you’re outside having a cigarette. It’s a queer thing: The performance is how you figure out who you are.\u003c/p>\n\u003cfigure id=\"attachment_13866986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/MandyCOC-800x788.jpg\" alt=\"Mandy Coco on Election Night 2016, at Aunt Charlie's in the Tenderloin.\" width=\"800\" height=\"788\" class=\"size-medium wp-image-13866986\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MandyCOC-800x788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MandyCOC-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MandyCOC-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MandyCOC-1020x1005.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MandyCOC.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mandy Coco on Election Night 2016, at Aunt Charlie’s in the Tenderloin. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You were at Aunt Charlie’s on election night in 2016. What was that like?\u003c/strong>\u003c/p>\n\u003cp>We showed up early and started drinking out of dread. Everyone was drinking in a quiet, tense way—the room was full of ghosts. It was announced on TV before the show, which was designed like Hillary Clinton won, so it was sort of making fun of us. The picture I took of Mandy Coco holding the flag, she was performing “The Winner Takes it All” by ABBA as Hillary Clinton.\u003c/p>\n\u003cp>I told Barry [Duey, a bartender who died in 2017] I hoped Trump would get shot, saying it’ll be fine, someone will kill him. Barry said we’d get Pence, who’s worse. I had this understanding that this would be his last president. A girl outside was screaming. Older people were terrified in a dull, bitter way. It became a game: Pointing fingers at people who weren’t visibly upset.\u003c/p>\n\u003cp>\u003cstrong>In the picture Mandy’s screaming, mouth impossibly agape, and holding the flag like it’s a corpse. How do you know when to pull the shutter in the middle of a performance?\u003c/strong>\u003c/p>\n\u003cp>It’s luck. I’ve taken a lot of bad performance shots. That’s the only one I’ve ever really liked. I avoid them. I’m in a book club with a lot of people from Aunt Charlie’s, and we were talking one day about how drag history is always, like, the pictures are generally of the performance. Drag is more than that; it’s about how you pay attention to the culture—how you make fun of it, celebrate it, how you dress in context, exist in these places, and it’s extremely communal. \u003c/p>\n\u003cp>\u003cstrong>There’s a lot of flash in these photos, you’re using a square, medium format, and you reuse some approaches to situating bodies in the frame. How did you develop this style?\u003c/strong>\u003c/p>\n\u003cp>At first it was more messy. The shooting component is best when it’s as subconscious as possible. I noticed a few years ago that I was starting to think about shooting in terms of a style, which is never good because you feel restricted. Instead it should be about getting more access to things; looking at the world in new ways should come first, and then the art. So now a lot of the style kind of comes out in the selection process, you know, because I shoot a lot.\u003c/p>\n\u003cfigure id=\"attachment_13866947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/316053010009-copy-800x785.jpg\" alt=\"Pepto Dismal at High Fantasy, at Aunt Charlie's in the Tenderloin.\" width=\"800\" height=\"785\" class=\"size-medium wp-image-13866947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy-800x785.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy-768x753.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy-1020x1000.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy-1200x1177.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pepto Dismal at High Fantasy, at Aunt Charlie’s in the Tenderloin. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Another picture I really like has a drag queen with “For Rent” and “For Sale” signs slung around her neck—accessorizing with market speculation paraphernalia in this gesture of refusal.\u003c/strong>\u003c/p>\n\u003cp>That queen, Pepto, she went to [California College of the Arts], so her interaction with drag has been very camp, pretty punk. … I remember once in college where one of the criticisms I got went like, ‘Why don’t you take pictures of drag queens in the daytime?’ They wanted a serious portrait of a drag queen staring straight at the camera. They wanted an easy explanation. \u003c/p>\n\u003cp>\u003cstrong>What do you mean by ‘easy explanation?’\u003c/strong>\u003c/p>\n\u003cp>They wanted this serious after-hours, under-the-covers thing which, to me, a lot of these photos are in a way. But they wanted a backstage pass in a way that felt like bullshit, or not my job.\u003c/p>\n\u003cp>\u003cstrong>Do you mean they wanted to be shown how drag queens are also regular people or something?\u003c/strong>\u003c/p>\n\u003cp>They wanted me to normalize it. To me it’s best when it’s not. It’s not normal, it’s better. I was like, you want the pictures to be a reason not to go. You want to know everything before you get there. At the end you wanted your grand finale, your period, when that doesn’t really happen.\u003c/p>\n\u003cfigure id=\"attachment_13866949\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/316053010005-copy-800x794.jpg\" alt=\"Mandy Coco dressed as Myles Cooper cleaning up glasses on a busy night at High Fantasy, at Aunt Charlie's in the Tenderloin.\" width=\"800\" height=\"794\" class=\"size-medium wp-image-13866949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy-1020x1013.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy-1200x1191.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mandy Coco dressed as Myles Cooper cleaning up glasses on a busy night at High Fantasy, at Aunt Charlie’s in the Tenderloin. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You mentioned Barry earlier. He’s one of the only people in multiple photos here. Who was he?\u003c/strong>\u003c/p>\n\u003cp>He was my best friend, still is. He bartended on Tuesdays for decades, and he looked like a truck driver. At the end of his shift he’d have a vodka cranberry juice and watch TV, telling stories about this ’70s cult, some love-related sex hippie cult where he learned he was gay. He had two major lovers later, why am I forgetting their names? I have the list on some napkins. \u003c/p>\n\u003cp>\u003cstrong>You have Barry’s lovers written on bar napkins?\u003c/strong>\u003c/p>\n\u003cp>Yeah, it was the night we became concrete friends. Sharon, Pindar from the cult, a Mormon from Salt Lake City, pencil-dick Paul—then it gets to the end, his last two lovers. One of them died of a drug overdose. Barry was madly in love with him, but he was a nightmare. Barry was impressed that he could take care of plants, but one day he goes on the patio and there’s like seven dead plants. He realized that the guy bought a new plant whenever one died—on Barry’s credit cards. Apparently one time he stole a bus with Barry’s drag queen roommate, Colette.\u003c/p>\n\u003cp>\u003cstrong>Why is the show called \u003cem>There Will Always Be Roses in San Francisco\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>Aunt Charlie’s had this old, disgusting carpet forever until they changed it to a brown carpet with roses on it. It felt like the biggest luxury, everyone felt so regal on the squishy, rose carpet. My friend Brittany ended up in a K-hole on the ground stroking the floor, with her long, stringy fingers and going, ‘There’ll always be roses in San Francisco.’ It stuck with me as a weird, elegant and also crazy debaucherous moment that sits with the mentality of the bar.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2012 \u003ca href=\"http://www.marissapatriceleitman.com/\">Marissa Patrice Leitman\u003c/a> started going to Aunt Charlie’s, a narrow hallway of a bar in the Tenderloin district, for High Fantasy, the lawless, now-defunct Tuesday drag night, with a hulking film camera and a long flash cord. Her documentation of the neighborhood’s last working-class gay bar in the years since shows intimate, sustained attention to a site of revelry and tenderness, release and hurt. The freelance photographer and cofounding director of artist-run performance space Hit Gallery developed a style in tandem with her deepening relationship to the bar’s community, showing how the boundaries between audience and performer eroded in riotous and sometimes subtle collective acts of self-discovery.\u003c/p>\n\u003cp>The pictures, some of which recently appeared in a \u003ca href=\"https://www.nightedlife.com/shop/everything\">book\u003c/a> published by Nighted Life, compose \u003cem>There Will Always Be Roses in San Francisco\u003c/em>, the latest in a series of Aunt Charlie’s-themed exhibitions at the \u003ca href=\"http://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a>. Ahead of the show, which opens Thursday, Oct. 3 and runs through Sunday, Nov. 3, Leitman reflected on photographing the High Fantasy drag scene, and how it changed her own life. The conversation has been edited for concision and clarity. \u003c/p>\n\u003cfigure id=\"attachment_13866946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-800x778.jpg\" alt=\"Brittany Newell performs at High Fantasy, at Aunt Charlie's in the Tenderloin.\" width=\"800\" height=\"778\" class=\"size-medium wp-image-13866946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-800x778.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-768x747.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-1020x992.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy-1200x1168.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010007-copy-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittany Newell performs at High Fantasy, at Aunt Charlie’s in the Tenderloin. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you tell me about your introduction to Aunt Charlie’s?\u003c/strong>\u003c/p>\n\u003cp>It was in a stalker way: I knew about it before I moved to San Francisco from musicians and drag performers. On my first night, Colin Self performed. Sometimes it’s dead-ass empty, only old regulars. Other times people are slammed against the railing—it was one of those nights.\u003c/p>\n\u003cp>\u003cstrong>How did your first impression live up to your preconceived notion of the place?\u003c/strong>\u003c/p>\n\u003cp>It was ten times smaller than I thought, but it met the rest of my expectations. I was totally mystified. It had this esteem, my idea was of a cool, beautiful, glamorous place, and it is that. \u003c/p>\n\u003cp>\u003cstrong>You didn’t start going for a photography project. What attracted you to the community?\u003c/strong>\u003c/p>\n\u003cp>At first it was the façade, everybody acted like a celebrity. Whether or not they had much materially to show, they had the attitude. Later I liked how they would also just let you be. As glamorous and grandiose as it might be, it also has a familial, humble vibe. That comes from the bar historically—it’s the oldest gay bar in the Tenderloin, people there lived through AIDS. \u003c/p>\n\u003cp>High Fantasy specifically has traditional, older queens and also younger queens. There’s shade and arguments but not much judgment about whether one generation is better. And there’s drag kings and women who perform as drag queens. There’s no rules and everybody’s interacting. … At the last one, I thought, “If there was an earthquake that’d be fine, I could die here.” \u003c/p>\n\u003cfigure id=\"attachment_13866948\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/316053010008-copy-800x785.jpg\" alt=\"Matia Emsellem at High Fantasy, at Aunt Charlie's in the Tenderloin.\" width=\"800\" height=\"785\" class=\"size-medium wp-image-13866948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy-800x785.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy-768x754.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy-1020x1001.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy-1200x1178.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010008-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matia Emsellem at High Fantasy, at Aunt Charlie’s in the Tenderloin. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you earn the trust of the people you photographed?\u003c/strong>\u003c/p>\n\u003cp>I have photography ethics that drive me crazy—I won’t take pictures of people I don’t know. I went to a drag show last night in L.A. to see my friend, and I was getting stink-eye from people who thought I was being pretentious by refusing to take their picture. I’m trying to break some of these rules. I take pictures out of admiration—determining or admitting what I’m attracted to.\u003c/p>\n\u003cp>\u003cstrong>You have a conspicuous camera.\u003c/strong> \u003c/p>\n\u003cp>I purposefully use really big cameras. It’s a Mamiya C330 that makes me look like a steampunk or some kind of Victorian fetishist. It has an extended flash cord, like 20 feet long. I’m not very graceful with it either. I’m stumbling around with this giant cord wrapped around my neck.\u003c/p>\n\u003cp>\u003cstrong>In this setting some people are excited by the camera, right?\u003c/strong>\u003c/p>\n\u003cp>It’s a drag bar so there’s no shortage of vanity, and over time people become comfortable with the object, it has more presence than a point-and-shoot, a ritualistic way of presenting itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13867108\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/MarissaLeitman-800x788.jpg\" alt=\"Marissa Leitman, self-portrait. \" width=\"800\" height=\"788\" class=\"size-medium wp-image-13867108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MarissaLeitman-800x788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MarissaLeitman-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MarissaLeitman-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MarissaLeitman-1020x1005.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MarissaLeitman.jpg 1039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marissa Leitman, self-portrait. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You mentioned your practice being about determining your attractions. How so?\u003c/strong>\u003c/p>\n\u003cp>I wonder how much it’s been sexually, I want it to be more. I have taken 50 pictures of someone I later realized I’m in love with. I’m honest but heavily in denial. Or I’m really emotional, but not good at admitting vulnerability and affections. I struggle to make eye contact even though I’m loud. It’s definitely a romantic thing, it helps me admit romance that’s sexual or not.\u003c/p>\n\u003cp>\u003cstrong>So you’ve learned a lot about yourself through Aunt Charlie’s, it sounds like.\u003c/strong>\u003c/p>\n\u003cp>I think everything. It’s a social boot camp. It’s small yet really glamorous, you have to interact with everybody, and everyone’s performing and expecting you to perform. That coupled with you’re next to the Tenderloin working-class community so there’s a genuine roughness. … Like you asked me earlier, sometimes I do look at photos and realize sexual attractions. But also you begin to understand how the presentation of sexy or sexuality happens—I do photos about that. \u003c/p>\n\u003cp>\u003cstrong>When you say “perform,” you don’t mean doing a set, right?\u003c/strong>\u003c/p>\n\u003cp>Yeah, in the way socializing is performing. There’s no real distinction between the performance that happens in the show and the performance that happens when you’re outside having a cigarette. It’s a queer thing: The performance is how you figure out who you are.\u003c/p>\n\u003cfigure id=\"attachment_13866986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/MandyCOC-800x788.jpg\" alt=\"Mandy Coco on Election Night 2016, at Aunt Charlie's in the Tenderloin.\" width=\"800\" height=\"788\" class=\"size-medium wp-image-13866986\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MandyCOC-800x788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MandyCOC-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MandyCOC-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MandyCOC-1020x1005.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/MandyCOC.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mandy Coco on Election Night 2016, at Aunt Charlie’s in the Tenderloin. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You were at Aunt Charlie’s on election night in 2016. What was that like?\u003c/strong>\u003c/p>\n\u003cp>We showed up early and started drinking out of dread. Everyone was drinking in a quiet, tense way—the room was full of ghosts. It was announced on TV before the show, which was designed like Hillary Clinton won, so it was sort of making fun of us. The picture I took of Mandy Coco holding the flag, she was performing “The Winner Takes it All” by ABBA as Hillary Clinton.\u003c/p>\n\u003cp>I told Barry [Duey, a bartender who died in 2017] I hoped Trump would get shot, saying it’ll be fine, someone will kill him. Barry said we’d get Pence, who’s worse. I had this understanding that this would be his last president. A girl outside was screaming. Older people were terrified in a dull, bitter way. It became a game: Pointing fingers at people who weren’t visibly upset.\u003c/p>\n\u003cp>\u003cstrong>In the picture Mandy’s screaming, mouth impossibly agape, and holding the flag like it’s a corpse. How do you know when to pull the shutter in the middle of a performance?\u003c/strong>\u003c/p>\n\u003cp>It’s luck. I’ve taken a lot of bad performance shots. That’s the only one I’ve ever really liked. I avoid them. I’m in a book club with a lot of people from Aunt Charlie’s, and we were talking one day about how drag history is always, like, the pictures are generally of the performance. Drag is more than that; it’s about how you pay attention to the culture—how you make fun of it, celebrate it, how you dress in context, exist in these places, and it’s extremely communal. \u003c/p>\n\u003cp>\u003cstrong>There’s a lot of flash in these photos, you’re using a square, medium format, and you reuse some approaches to situating bodies in the frame. How did you develop this style?\u003c/strong>\u003c/p>\n\u003cp>At first it was more messy. The shooting component is best when it’s as subconscious as possible. I noticed a few years ago that I was starting to think about shooting in terms of a style, which is never good because you feel restricted. Instead it should be about getting more access to things; looking at the world in new ways should come first, and then the art. So now a lot of the style kind of comes out in the selection process, you know, because I shoot a lot.\u003c/p>\n\u003cfigure id=\"attachment_13866947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/316053010009-copy-800x785.jpg\" alt=\"Pepto Dismal at High Fantasy, at Aunt Charlie's in the Tenderloin.\" width=\"800\" height=\"785\" class=\"size-medium wp-image-13866947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy-800x785.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy-768x753.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy-1020x1000.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy-1200x1177.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010009-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pepto Dismal at High Fantasy, at Aunt Charlie’s in the Tenderloin. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Another picture I really like has a drag queen with “For Rent” and “For Sale” signs slung around her neck—accessorizing with market speculation paraphernalia in this gesture of refusal.\u003c/strong>\u003c/p>\n\u003cp>That queen, Pepto, she went to [California College of the Arts], so her interaction with drag has been very camp, pretty punk. … I remember once in college where one of the criticisms I got went like, ‘Why don’t you take pictures of drag queens in the daytime?’ They wanted a serious portrait of a drag queen staring straight at the camera. They wanted an easy explanation. \u003c/p>\n\u003cp>\u003cstrong>What do you mean by ‘easy explanation?’\u003c/strong>\u003c/p>\n\u003cp>They wanted this serious after-hours, under-the-covers thing which, to me, a lot of these photos are in a way. But they wanted a backstage pass in a way that felt like bullshit, or not my job.\u003c/p>\n\u003cp>\u003cstrong>Do you mean they wanted to be shown how drag queens are also regular people or something?\u003c/strong>\u003c/p>\n\u003cp>They wanted me to normalize it. To me it’s best when it’s not. It’s not normal, it’s better. I was like, you want the pictures to be a reason not to go. You want to know everything before you get there. At the end you wanted your grand finale, your period, when that doesn’t really happen.\u003c/p>\n\u003cfigure id=\"attachment_13866949\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/316053010005-copy-800x794.jpg\" alt=\"Mandy Coco dressed as Myles Cooper cleaning up glasses on a busy night at High Fantasy, at Aunt Charlie's in the Tenderloin.\" width=\"800\" height=\"794\" class=\"size-medium wp-image-13866949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy-1020x1013.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy-1200x1191.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/316053010005-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mandy Coco dressed as Myles Cooper cleaning up glasses on a busy night at High Fantasy, at Aunt Charlie’s in the Tenderloin. \u003ccite>(Marissa Leitman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You mentioned Barry earlier. He’s one of the only people in multiple photos here. Who was he?\u003c/strong>\u003c/p>\n\u003cp>He was my best friend, still is. He bartended on Tuesdays for decades, and he looked like a truck driver. At the end of his shift he’d have a vodka cranberry juice and watch TV, telling stories about this ’70s cult, some love-related sex hippie cult where he learned he was gay. He had two major lovers later, why am I forgetting their names? I have the list on some napkins. \u003c/p>\n\u003cp>\u003cstrong>You have Barry’s lovers written on bar napkins?\u003c/strong>\u003c/p>\n\u003cp>Yeah, it was the night we became concrete friends. Sharon, Pindar from the cult, a Mormon from Salt Lake City, pencil-dick Paul—then it gets to the end, his last two lovers. One of them died of a drug overdose. Barry was madly in love with him, but he was a nightmare. Barry was impressed that he could take care of plants, but one day he goes on the patio and there’s like seven dead plants. He realized that the guy bought a new plant whenever one died—on Barry’s credit cards. Apparently one time he stole a bus with Barry’s drag queen roommate, Colette.\u003c/p>\n\u003cp>\u003cstrong>Why is the show called \u003cem>There Will Always Be Roses in San Francisco\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>Aunt Charlie’s had this old, disgusting carpet forever until they changed it to a brown carpet with roses on it. It felt like the biggest luxury, everyone felt so regal on the squishy, rose carpet. My friend Brittany ended up in a K-hole on the ground stroking the floor, with her long, stringy fingers and going, ‘There’ll always be roses in San Francisco.’ It stuck with me as a weird, elegant and also crazy debaucherous moment that sits with the mentality of the bar.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Aunt Charlie’s, SF’s Working Class Drag Bar, Gets the Museum Treatment",
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"content": "\u003cp>Aunt Charlie’s, a narrow hallway of a bar on Turk Street, has long been a venue and refuge of critical importance to San Francisco drag queens and the broader queer community. Now one of the longest continuously-operating queer bars in the city and its inimitable denizens are the subjects of an exhibition series at the nearby Tenderloin Museum that will culminate in a book. \u003c/p>\n\u003cp>\u003cem>Aunt Charlie’s: San Francisco’s Working Class Drag Bar\u003c/em> encompasses nine events and five art shows between June-December, 2019 intended to celebrate what the organizers call a “remarkable space of socio-historical importance that is graced nightly by offbeat, eccentric characters,” and to highlight in particular the Tenderloin’s low-income LGTBQ community. \u003c/p>\n\u003cp>The exhibiting artists—James Hosking, Tim Snyder, Raphael Villet, Marissa Leitman and Darwin Bell—all have close ties to the bar, and as photographers and painters bring distinctive portraiture styles to their common subject. Drag performances and screenings, among other events on-site and at remote locations, punctuate the several months of programming. \u003c/p>\n\u003cp>Hosking, a photographer and filmmaker whose show opens Aug. 1, shadowed Aunt Charlie’s performers to explore aging and labor in drag. Bell, showing photographs throughout September, focused on the drag queens of Aunt Charlie’s fixtures Hot Boxx Girls. And both Leitman, the photographer featured in October, focuses on the recently discontinued High Fantasy. Leitman’s work illustrated \u003ca href=\"https://www.dazeddigital.com/life-culture/article/42245/1/high-fantasy-san-francisco-drag-club-aunt-charlies-essay\">this\u003c/a> lyrical eulogy to the night by Brittany Newell.\u003c/p>\n\u003cp>The artists’ work will eventually appear alongside interviews in an original book about Aunt Charlie’s with an introduction by Susan Stryker and André Pérez.\u003cem>—Sam Lefebvre\u003c/em> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cem>Editor’s Note: The performances in this video include reenactments of police brutality against transgender women and descriptions of sexual assault. Viewer discretion advised. \u003c/em>\u003c/p>\n\u003cp>When Shane Zaldivar showed up at the casting call for\u003cem> The Compton’s Cafeteria Riot\u003c/em>, a play presented by the Tenderloin Museum about the 1966 riot between cafeteria customers (trans women, drag queens and LGBTQ community members) and the San Francisco police, the 27-year-old actor had only recently learned about the historic event.\u003c/p>\n\u003cp>“If I had known that story earlier on, been taught it in high school,” Zaldivar recalls wistfully. “This is a group of people, fighting for their rights, as human beings, and they are still doing that fight today.”\u003c/p>\n\u003cp>The riot, which took place a full three years before Stonewall, is the first known instance of militant queer resistance to police harassment in United States history, and in recent years—thanks to a 2005 documentary \u003ca href=\"https://www.kqed.org/arts/11838357/in-66-on-one-hot-august-night-trans-women-fought-for-their-rights\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Screaming Queens\u003c/em>\u003c/a>, and this play, written by Mark Nassar, Collette LeGrande and Donna Personna—this seminal moment in LGBTQ and Bay Area history is finally getting the attention it deserves.\u003c/p>\n\u003cp>\u003cem>The Compton’s Cafeteria Riot\u003c/em>, which ran for just over two months in San Francisco’s New Village Cafe, collapsed the distance between audience and performer, lived history and theatrical retelling. Playgoers sat at the “Compton’s” counter, ate a meal and watched a group of transgender women and drag queens decide they’d withstood enough police harassment and brutality—it was time to fight back. What the audience didn’t see was the months of rehearsals and community workshops that shaped the play—and the deep bonds that formed across generations in the process.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Peek behind the stage curtain into the real-life story of Donna Personna, who reflects back on her memories of Compton’s and translated her own experiences—of violence, marginalization and ultimately, hope—into the role Zaldivar embodied. “She’s lived this experience, she’s my elder,” Zaldivar says. “It’s nice to have someone like that as a friend.” \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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