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"content": "\u003cfigure id=\"attachment_13971911\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971911\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_24-1-scaled.jpg\" alt=\"A drag performer with a beard wears a reflective, sculptural outfit with a cape.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_24-1-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_24-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_24-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_24-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_24-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_24-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_24-1-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_24-1-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Iman performs at Crip Ecstasy 2023. The artist, who mentors deaf and hard-of-hearing drag performers, will return to Crip Ecstasy’s next party on Feb. 20 at The Stud. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At their warehouse party last Halloween, \u003ca href=\"https://www.instagram.com/octavia__rose/\">Octavia Rose Hingle\u003c/a> finally felt free to get lost in the music. They reclined on a daybed on the dance floor, waving their arms as the DJ blended an intoxicating mix of house grooves and sexy lyrics from Charli XCX and Ice Spice. For Hingle, who deals with mobility issues, spaces that allow them to dance comfortably are exceedingly rare. That’s why they created Crip Ecstasy, a dance party and drag night that caters to attendees with different access needs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.union.fit/events/kh-fresh-festival-rot-festival-x-crip-ecstasy-x-the-stud-sf-drag-show/performances/8sh8ap53\">The party’s next installment\u003c/a>, at The Stud in San Francisco, gets underway on Feb. 20 as part of \u003ca href=\"https://www.freshfestival.org/\">Rot Festival\u003c/a>, an experimental dance and performance showcase. Not only is the legendary queer bar wheelchair-accessible, but the party offers numerous seating options, including beanbags and wide-legged chairs. Masks are required when not drinking. All performances have ASL interpretations and audio descriptions, and blind and visually impaired guests can touch the space and performers’ costumes in a haptic tour organized by \u003ca href=\"https://www.kqed.org/arts/13921184/jess-curtis-gravity-dance-accessibility-disability-justice\">Gravity Access Services\u003c/a> before the show.\u003c/p>\n\u003cp>“It’s really magical to experience what it’s like when people’s access needs are centered. I feel like it really shifts the space in so many ways,” says Hingle. “Just to know that you belong and that people are there to support you and your experience, versus you having to fight to get a seat, or [getting] crammed into the back of the club because you need to sit down and your friends are up front dancing.”\u003c/p>\n\u003cfigure id=\"attachment_13971909\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971909\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_99.jpg\" alt=\"Two dancers in shorts and crop tops, one of whom is using a wheelchair, move to the music while a DJ spins. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_99.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_99-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_99-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_99-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_99-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_99-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_99-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">NEVE and Saira Barbaric dance at Crip Ecstasy at CounterPulse in 2023. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By day, Hingle works at \u003ca href=\"https://ww2.kqed.org/spark/axis-dance-company/\">AXIS Dance Company\u003c/a>, known for stunning choreography that centers performers with diverse body types and physical abilities. They first fell in love with nightlife in the 2010s at parties like \u003ca href=\"https://www.kqed.org/arts/12642450/middle-east-meets-west-oakland-at-party-on-the-rise-club-chai\">Club Chai\u003c/a>, a multicultural and trans-inclusive space where the Bay’s different subcultures mingled. After hearing about accessible parties like Crip Rave in Toronto and Remote Access online, they threw the first Crip Ecstasy at San Francisco performing arts space CounterPulse in 2023.\u003c/p>\n\u003cp>For Hingle, imagining ways to make a party accessible presents an opportunity to get creative. “We were able to bring in visual artists to do sensory room installations for people who needed some space to de-stimulate,” they recall from the first event. Projection designers created psychedelic displays where interpreters typed descriptions of the music, live. “That added an interesting poetic element to the dance music for everybody.”\u003c/p>\n\u003cfigure id=\"attachment_13971910\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971910\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_130.jpg\" alt=\"A large crowd dances in front of a DJ playing music on CDJs. There's a projection on the wall with a psychedelic swirling pattern, and the text description of the music says "hard bass dance vibes."\" width=\"2000\" height=\"1055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_130.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_130-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_130-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_130-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_130-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_130-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_130-1920x1013.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DJ Ladybug spins at Crip Ecstasy in 2023 with projections by Miaccuicatl Alexander and Anum Awan. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/djfridge_/\">DJ Fridge\u003c/a>, whose real name is Ben Cook, played at that first event, and has since come on as a co-producer of Crip Ecstasy. They became enamored with the Bay Area’s underground electronic music scene as a UC Santa Cruz student when events started back up after COVID shutdowns. But as their chronic pain worsened, they realized they couldn’t always go to raves in far-flung, industrial locations that required laborious treks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think especially in dance music, there’s this attitude of almost embracing like, ‘Yeah, this is a dirty, disgusting warehouse and there’s nowhere to sit down. This is hard for hardcore ravers,’” Cook reflects. “I kind of subscribed to that when I was younger. And then, as my own disability got worse, it totally forced this paradigm shift in me.”\u003c/p>\n\u003cfigure id=\"attachment_13971913\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971913\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_1-1-scaled.jpg\" alt=\"Dancers wearing masks and sparkly outfits move to the music under dim club lights.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_1-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_1-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_1-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_1-1-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Crip Ecstasy party-goers in 2023. The event returns at The Stud in San Francisco on Feb. 20. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Historically and today, nightlife has been an important way for queer people to find themselves and their community — and Cook and Hingle knew they weren’t the only disabled people yearning for that kind of connection. Many of the performers at the upcoming Feb. 20 Crip Ecstasy party also advocate for accessibility on and off the stage.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/glamputee/?hl=en\">Glamputee\u003c/a>, for instance, \u003ca href=\"https://www.kqed.org/arts/13885614/drag-performers-champion-anti-racism-disability-justice-at-oaklash\">leads disability justice workshops\u003c/a> when they’re not lip-syncing in drag. And \u003ca href=\"https://www.instagram.com/therealiman84/\">Iman\u003c/a> is the leader of the Deaf Drag Empowerment Residency & Showcase, an incubator for new talent. Contemporary dancer and drag artist \u003ca href=\"https://www.instagram.com/janpistar/\">JanpiStar\u003c/a> works with Hingle at AXIS Dance. \u003ca href=\"https://www.instagram.com/kochinarude/?hl=en\">Kochina Rude\u003c/a> is a regular at Oasis, where, in addition to supplying plenty of punky, glamorous looks, \u003ca href=\"https://www.kqed.org/arts/13961839/drag-queens-overdose-prevention-narcan-san-francisco\">she has championed safer partying practices\u003c/a> like free fentanyl test strips and Narcan.\u003c/p>\n\u003cfigure id=\"attachment_13971912\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971912\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CripEcstasy_Producers_BlairHammond_4.jpg\" alt=\"Two people in sunglasses and blazers strut in front of a brutalist building. The person on the left is using one crutch and the person on the right is using a cane.\" width=\"1365\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CripEcstasy_Producers_BlairHammond_4.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CripEcstasy_Producers_BlairHammond_4-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CripEcstasy_Producers_BlairHammond_4-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CripEcstasy_Producers_BlairHammond_4-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CripEcstasy_Producers_BlairHammond_4-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CripEcstasy_Producers_BlairHammond_4-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Crip Ecstasy producers Octavia Rose Hingle (left) and Ben Cook, a.k.a. DJ Fridge (right). \u003ccite>(Blair Hammond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m happy and proud to be a part of what is a bigger movement happening right now in nightlife, both in the Bay Area and beyond,” says Cook.\u003c/p>\n\u003cp>Ainsley Tharp, co-organizer of Rot Festival, which co-presents this edition of Crip Ecstasy, says she was blown away when she attended the first party two years ago. “It feels important to have events like these where people can feel fully embodied in themselves,” she says, noting that accessibility is one of her organization’s pillars.\u003c/p>\n\u003cp>Hingle and Cook are dreaming up more parties for the coming year, and reaching out to DJ crews for collaborations. They often seek community input, and humble themselves to the fact that not every event will meet every need. A future goal of theirs is greater COVID safety.\u003c/p>\n\u003cp>“A big lesson is that it is almost impossible to have a party that’s going to be 100% accessible for every single person,” Hingle says. “And so, wanting to be transparent that we’re trying our best, but we might make mistakes, we’re still learning and we’re always open to feedback.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cbr>\nCrip Ecstasy takes place at The Stud in San Francisco on Thursday, Feb. 20, 7 p.m.–12 a.m. \u003ca href=\"https://www.union.fit/events/kh-fresh-festival-rot-festival-x-crip-ecstasy-x-the-stud-sf-drag-show/performances/8sh8ap53\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13971911\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971911\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_24-1-scaled.jpg\" alt=\"A drag performer with a beard wears a reflective, sculptural outfit with a cape.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_24-1-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_24-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_24-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_24-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_24-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_24-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_24-1-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_24-1-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Iman performs at Crip Ecstasy 2023. The artist, who mentors deaf and hard-of-hearing drag performers, will return to Crip Ecstasy’s next party on Feb. 20 at The Stud. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At their warehouse party last Halloween, \u003ca href=\"https://www.instagram.com/octavia__rose/\">Octavia Rose Hingle\u003c/a> finally felt free to get lost in the music. They reclined on a daybed on the dance floor, waving their arms as the DJ blended an intoxicating mix of house grooves and sexy lyrics from Charli XCX and Ice Spice. For Hingle, who deals with mobility issues, spaces that allow them to dance comfortably are exceedingly rare. That’s why they created Crip Ecstasy, a dance party and drag night that caters to attendees with different access needs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.union.fit/events/kh-fresh-festival-rot-festival-x-crip-ecstasy-x-the-stud-sf-drag-show/performances/8sh8ap53\">The party’s next installment\u003c/a>, at The Stud in San Francisco, gets underway on Feb. 20 as part of \u003ca href=\"https://www.freshfestival.org/\">Rot Festival\u003c/a>, an experimental dance and performance showcase. Not only is the legendary queer bar wheelchair-accessible, but the party offers numerous seating options, including beanbags and wide-legged chairs. Masks are required when not drinking. All performances have ASL interpretations and audio descriptions, and blind and visually impaired guests can touch the space and performers’ costumes in a haptic tour organized by \u003ca href=\"https://www.kqed.org/arts/13921184/jess-curtis-gravity-dance-accessibility-disability-justice\">Gravity Access Services\u003c/a> before the show.\u003c/p>\n\u003cp>“It’s really magical to experience what it’s like when people’s access needs are centered. I feel like it really shifts the space in so many ways,” says Hingle. “Just to know that you belong and that people are there to support you and your experience, versus you having to fight to get a seat, or [getting] crammed into the back of the club because you need to sit down and your friends are up front dancing.”\u003c/p>\n\u003cfigure id=\"attachment_13971909\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971909\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_99.jpg\" alt=\"Two dancers in shorts and crop tops, one of whom is using a wheelchair, move to the music while a DJ spins. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_99.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_99-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_99-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_99-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_99-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_99-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_99-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">NEVE and Saira Barbaric dance at Crip Ecstasy at CounterPulse in 2023. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By day, Hingle works at \u003ca href=\"https://ww2.kqed.org/spark/axis-dance-company/\">AXIS Dance Company\u003c/a>, known for stunning choreography that centers performers with diverse body types and physical abilities. They first fell in love with nightlife in the 2010s at parties like \u003ca href=\"https://www.kqed.org/arts/12642450/middle-east-meets-west-oakland-at-party-on-the-rise-club-chai\">Club Chai\u003c/a>, a multicultural and trans-inclusive space where the Bay’s different subcultures mingled. After hearing about accessible parties like Crip Rave in Toronto and Remote Access online, they threw the first Crip Ecstasy at San Francisco performing arts space CounterPulse in 2023.\u003c/p>\n\u003cp>For Hingle, imagining ways to make a party accessible presents an opportunity to get creative. “We were able to bring in visual artists to do sensory room installations for people who needed some space to de-stimulate,” they recall from the first event. Projection designers created psychedelic displays where interpreters typed descriptions of the music, live. “That added an interesting poetic element to the dance music for everybody.”\u003c/p>\n\u003cfigure id=\"attachment_13971910\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971910\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_130.jpg\" alt=\"A large crowd dances in front of a DJ playing music on CDJs. There's a projection on the wall with a psychedelic swirling pattern, and the text description of the music says "hard bass dance vibes."\" width=\"2000\" height=\"1055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_130.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_130-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_130-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_130-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_130-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_130-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_130-1920x1013.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DJ Ladybug spins at Crip Ecstasy in 2023 with projections by Miaccuicatl Alexander and Anum Awan. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/djfridge_/\">DJ Fridge\u003c/a>, whose real name is Ben Cook, played at that first event, and has since come on as a co-producer of Crip Ecstasy. They became enamored with the Bay Area’s underground electronic music scene as a UC Santa Cruz student when events started back up after COVID shutdowns. But as their chronic pain worsened, they realized they couldn’t always go to raves in far-flung, industrial locations that required laborious treks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think especially in dance music, there’s this attitude of almost embracing like, ‘Yeah, this is a dirty, disgusting warehouse and there’s nowhere to sit down. This is hard for hardcore ravers,’” Cook reflects. “I kind of subscribed to that when I was younger. And then, as my own disability got worse, it totally forced this paradigm shift in me.”\u003c/p>\n\u003cfigure id=\"attachment_13971913\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971913\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_1-1-scaled.jpg\" alt=\"Dancers wearing masks and sparkly outfits move to the music under dim club lights.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_1-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_1-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_1-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2023_CripEcstasy_RobbieSweeny_1-1-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Crip Ecstasy party-goers in 2023. The event returns at The Stud in San Francisco on Feb. 20. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Historically and today, nightlife has been an important way for queer people to find themselves and their community — and Cook and Hingle knew they weren’t the only disabled people yearning for that kind of connection. Many of the performers at the upcoming Feb. 20 Crip Ecstasy party also advocate for accessibility on and off the stage.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/glamputee/?hl=en\">Glamputee\u003c/a>, for instance, \u003ca href=\"https://www.kqed.org/arts/13885614/drag-performers-champion-anti-racism-disability-justice-at-oaklash\">leads disability justice workshops\u003c/a> when they’re not lip-syncing in drag. And \u003ca href=\"https://www.instagram.com/therealiman84/\">Iman\u003c/a> is the leader of the Deaf Drag Empowerment Residency & Showcase, an incubator for new talent. Contemporary dancer and drag artist \u003ca href=\"https://www.instagram.com/janpistar/\">JanpiStar\u003c/a> works with Hingle at AXIS Dance. \u003ca href=\"https://www.instagram.com/kochinarude/?hl=en\">Kochina Rude\u003c/a> is a regular at Oasis, where, in addition to supplying plenty of punky, glamorous looks, \u003ca href=\"https://www.kqed.org/arts/13961839/drag-queens-overdose-prevention-narcan-san-francisco\">she has championed safer partying practices\u003c/a> like free fentanyl test strips and Narcan.\u003c/p>\n\u003cfigure id=\"attachment_13971912\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971912\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CripEcstasy_Producers_BlairHammond_4.jpg\" alt=\"Two people in sunglasses and blazers strut in front of a brutalist building. The person on the left is using one crutch and the person on the right is using a cane.\" width=\"1365\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CripEcstasy_Producers_BlairHammond_4.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CripEcstasy_Producers_BlairHammond_4-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CripEcstasy_Producers_BlairHammond_4-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CripEcstasy_Producers_BlairHammond_4-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CripEcstasy_Producers_BlairHammond_4-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CripEcstasy_Producers_BlairHammond_4-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Crip Ecstasy producers Octavia Rose Hingle (left) and Ben Cook, a.k.a. DJ Fridge (right). \u003ccite>(Blair Hammond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m happy and proud to be a part of what is a bigger movement happening right now in nightlife, both in the Bay Area and beyond,” says Cook.\u003c/p>\n\u003cp>Ainsley Tharp, co-organizer of Rot Festival, which co-presents this edition of Crip Ecstasy, says she was blown away when she attended the first party two years ago. “It feels important to have events like these where people can feel fully embodied in themselves,” she says, noting that accessibility is one of her organization’s pillars.\u003c/p>\n\u003cp>Hingle and Cook are dreaming up more parties for the coming year, and reaching out to DJ crews for collaborations. They often seek community input, and humble themselves to the fact that not every event will meet every need. A future goal of theirs is greater COVID safety.\u003c/p>\n\u003cp>“A big lesson is that it is almost impossible to have a party that’s going to be 100% accessible for every single person,” Hingle says. “And so, wanting to be transparent that we’re trying our best, but we might make mistakes, we’re still learning and we’re always open to feedback.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cbr>\nCrip Ecstasy takes place at The Stud in San Francisco on Thursday, Feb. 20, 7 p.m.–12 a.m. \u003ca href=\"https://www.union.fit/events/kh-fresh-festival-rot-festival-x-crip-ecstasy-x-the-stud-sf-drag-show/performances/8sh8ap53\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "tenderloin-museum-expansion-comptons-cafeteria-riot-play",
"title": "The Tenderloin Museum to Expand, Bucking Local Trends",
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"headTitle": "The Tenderloin Museum to Expand, Bucking Local Trends | KQED",
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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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"slug": "465-collective-exhibition-immigrant-queer-nothing-new",
"title": "In SF Art Show, Anti-Immigrant and Anti-Queer Policies Are ‘Nothing New’",
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"headTitle": "In SF Art Show, Anti-Immigrant and Anti-Queer Policies Are ‘Nothing New’ | KQED",
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"content": "\u003cp>As the new administration announces policies targeting immigrants and members of the queer community, local artists are responding with an exhibition highlighting the groups’ unity. From Feb. 15–March 16, the show \u003ci>NOTHING NEW\u003c/i> will be on view at the new 465 Collective Space Gallery in San Francisco.\u003c/p>\n\u003cp>The collection of works by artists across the country will be the first event hosted at this location by the \u003ca href=\"https://48hills.org/2024/12/new-sf-arts-collective-465-introduces-itself/\">465 Collective\u003c/a>, led by BlackMaria Microcinema (Maria Judice), Alchemy Film Foundation (Madison Young), Ginger Yifan Chen, EARTH Lab SF (Beth Stephens), Lydia Daniller, and Jason Wyman / Queerly Complex.\u003c/p>\n\u003cfigure id=\"attachment_13970992\" class=\"wp-caption aligncenter\" style=\"max-width: 1166px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS31-e1738617554268.png\" alt=\"Brightly colored images of people in clown makeup holding signs with political messages.\" width=\"1166\" height=\"1540\" class=\"size-full wp-image-13970992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS31-e1738617554268.png 1166w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS31-e1738617554268-800x1057.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS31-e1738617554268-1020x1347.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS31-e1738617554268-160x211.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS31-e1738617554268-768x1014.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS31-e1738617554268-1163x1536.png 1163w\" sizes=\"auto, (max-width: 1166px) 100vw, 1166px\">\u003cfigcaption class=\"wp-caption-text\">Jason Wyman, ‘Political Clowns,’ 2017-Current. \u003ccite>(Jason Wyman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Existing as both an installation of prints and a digital catalog, the exhibition will feature the works of over 60 immigrant and queer artists. At the gallery, poetry will be displayed alongside images of sculptures, portraits of dancers and banners with political messaging.\u003c/p>\n\u003cp>Co-curated by local artist \u003ca href=\"https://www.instagram.com/bushragill_art/\">Bushra Gill\u003c/a> and organizer \u003ca href=\"https://www.instagram.com/queerlycomplex/\">Jason Wyman\u003c/a>, the exhibition, much like the issues it’s combating, has been years in the making. When asked about the show’s origin, Wyman says, “In order to talk about that I need to go back five years.”\u003c/p>\n\u003cp>Just before the COVID-19 pandemic, Wyman was working with friend and artist Rupy C. Tut to create \u003ca href=\"https://www.immigrantartistnetwork.com/\">The Immigrant Artist Network\u003c/a>, a nationwide collection of artists. “We wanted to find ways to bring immigrants and their comrades together to talk about art,” says Wyman.\u003c/p>\n\u003cfigure id=\"attachment_13970990\" class=\"wp-caption aligncenter\" style=\"max-width: 1020px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS51-e1738617487546.png\" alt=\"An image of a person on one foot as they leap, wearing a red garment.\" width=\"1020\" height=\"1528\" class=\"size-full wp-image-13970990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS51-e1738617487546.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS51-e1738617487546-800x1198.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS51-e1738617487546-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS51-e1738617487546-768x1150.png 768w\" sizes=\"auto, (max-width: 1020px) 100vw, 1020px\">\u003cfigcaption class=\"wp-caption-text\">Nitya Narasimhan, ‘Steps Worn by Time,’ 2023. \u003ccite>(Nitya Narasimhan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the pandemic-induced lockdown, immigrant artists — unable to show or in some cases produce work — had trouble retaining their visas, so the collective began throwing virtual events. Over the past five years the community has stayed in contact, periodically convening and hosting salons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This year, as President Trump took office, the network of artists began to discuss the national political landscape.\u003c/p>\n\u003cp>As a queer person, Wyman says they asked themself the question: “How can I work with immigrants in order to craft something that speaks to this political moment in some way, shape or form?”\u003c/p>\n\u003cp>When they landed on the idea of exhibiting queer and immigrant artists, exhibition co-curator Gill pointed out a huge barrier artists face when submitting work.\u003c/p>\n\u003cfigure id=\"attachment_13970991\" class=\"wp-caption aligncenter\" style=\"max-width: 1166px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS12-e1738617515147.png\" alt=\"An abstract indigo circular image.\" width=\"1166\" height=\"1534\" class=\"size-full wp-image-13970991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS12-e1738617515147.png 1166w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS12-e1738617515147-800x1052.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS12-e1738617515147-1020x1342.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS12-e1738617515147-160x210.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS12-e1738617515147-768x1010.png 768w\" sizes=\"auto, (max-width: 1166px) 100vw, 1166px\">\u003cfigcaption class=\"wp-caption-text\">Bushra Gill, ‘In Plain Sight,’ 2022. \u003ccite>(Bushra Gill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A lot of times shows have some sort of theme to them,” says Wyman, lamenting how that practice causes artists to create new work or not submit to shows at all. “So we decided to play off this idea of ‘nothing new.’”\u003c/p>\n\u003cp>“The assault on queer and immigrant folks is actually nothing new in this country,” they add. “It’s nothing new globally, as well.”\u003c/p>\n\u003cp>The idea of “nothing new” applied to the work shown, as well as the application process. Artists were asked to submit works that could be shown on an 8 1/2″ x 11″ sheet of paper, “with no new works, and no new words at all,” says Wyman.\u003c/p>\n\u003cp>The goal of the exhibition is to not only show how queer folks and immigrants are coming together as an act of solidarity, but also to preserve this work for future generations.\u003c/p>\n\u003cfigure id=\"attachment_13970993\" class=\"wp-caption aligncenter\" style=\"max-width: 1177px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS60-e1738617720181.png\" alt=\"A short poem written below a painted image of a body that has grown a flower where the head should be as well as one at the abdomen region.\" width=\"1177\" height=\"1517\" class=\"size-full wp-image-13970993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS60-e1738617720181.png 1177w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS60-e1738617720181-800x1031.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS60-e1738617720181-1020x1315.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS60-e1738617720181-160x206.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS60-e1738617720181-768x990.png 768w\" sizes=\"auto, (max-width: 1177px) 100vw, 1177px\">\u003cfigcaption class=\"wp-caption-text\">Taneesh Kaur, ‘Embodying Kali-ma,’ 2024 \u003ccite>(Taneesh Kaur)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wyman has submitted every piece in the show to the Internet Archive, and they plan on submitting the project to \u003ca href=\"https://sfpl.org/locations/main-library/book-arts-special-collections/little-magazine-collection\">San Francisco’s Zine Archive\u003c/a> as well.\u003c/p>\n\u003cp>“Artists are notoriously terrible at archiving their work,” says Wyman with a laugh. But as the federal government works to erase the stories of immigrants and queer people, this work is more serious than ever, they said.\u003c/p>\n\u003cp>“I’ve been doing convening work for a real long time,” says Wyman, who has a background in peer exchanges and nonhierarchical leadership models. “My real hope is that we continue to deepen our conversation among groups of people that are under direct political attack, so that when we see each other in the streets, when those attacks get amped up, we know other people that we can talk to and reach out to.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘NOTHING NEW’ is on view Feb. 15–March 16, 2025 at the 465 Collective Space Gallery (465 S. Van Ness Ave., San Francisco). \u003ca href=\"https://www.queerlycomplex.com/event-details-registration/nothing-new-opening-reception\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the new administration announces policies targeting immigrants and members of the queer community, local artists are responding with an exhibition highlighting the groups’ unity. From Feb. 15–March 16, the show \u003ci>NOTHING NEW\u003c/i> will be on view at the new 465 Collective Space Gallery in San Francisco.\u003c/p>\n\u003cp>The collection of works by artists across the country will be the first event hosted at this location by the \u003ca href=\"https://48hills.org/2024/12/new-sf-arts-collective-465-introduces-itself/\">465 Collective\u003c/a>, led by BlackMaria Microcinema (Maria Judice), Alchemy Film Foundation (Madison Young), Ginger Yifan Chen, EARTH Lab SF (Beth Stephens), Lydia Daniller, and Jason Wyman / Queerly Complex.\u003c/p>\n\u003cfigure id=\"attachment_13970992\" class=\"wp-caption aligncenter\" style=\"max-width: 1166px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS31-e1738617554268.png\" alt=\"Brightly colored images of people in clown makeup holding signs with political messages.\" width=\"1166\" height=\"1540\" class=\"size-full wp-image-13970992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS31-e1738617554268.png 1166w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS31-e1738617554268-800x1057.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS31-e1738617554268-1020x1347.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS31-e1738617554268-160x211.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS31-e1738617554268-768x1014.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS31-e1738617554268-1163x1536.png 1163w\" sizes=\"auto, (max-width: 1166px) 100vw, 1166px\">\u003cfigcaption class=\"wp-caption-text\">Jason Wyman, ‘Political Clowns,’ 2017-Current. \u003ccite>(Jason Wyman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Existing as both an installation of prints and a digital catalog, the exhibition will feature the works of over 60 immigrant and queer artists. At the gallery, poetry will be displayed alongside images of sculptures, portraits of dancers and banners with political messaging.\u003c/p>\n\u003cp>Co-curated by local artist \u003ca href=\"https://www.instagram.com/bushragill_art/\">Bushra Gill\u003c/a> and organizer \u003ca href=\"https://www.instagram.com/queerlycomplex/\">Jason Wyman\u003c/a>, the exhibition, much like the issues it’s combating, has been years in the making. When asked about the show’s origin, Wyman says, “In order to talk about that I need to go back five years.”\u003c/p>\n\u003cp>Just before the COVID-19 pandemic, Wyman was working with friend and artist Rupy C. Tut to create \u003ca href=\"https://www.immigrantartistnetwork.com/\">The Immigrant Artist Network\u003c/a>, a nationwide collection of artists. “We wanted to find ways to bring immigrants and their comrades together to talk about art,” says Wyman.\u003c/p>\n\u003cfigure id=\"attachment_13970990\" class=\"wp-caption aligncenter\" style=\"max-width: 1020px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS51-e1738617487546.png\" alt=\"An image of a person on one foot as they leap, wearing a red garment.\" width=\"1020\" height=\"1528\" class=\"size-full wp-image-13970990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS51-e1738617487546.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS51-e1738617487546-800x1198.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS51-e1738617487546-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS51-e1738617487546-768x1150.png 768w\" sizes=\"auto, (max-width: 1020px) 100vw, 1020px\">\u003cfigcaption class=\"wp-caption-text\">Nitya Narasimhan, ‘Steps Worn by Time,’ 2023. \u003ccite>(Nitya Narasimhan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the pandemic-induced lockdown, immigrant artists — unable to show or in some cases produce work — had trouble retaining their visas, so the collective began throwing virtual events. Over the past five years the community has stayed in contact, periodically convening and hosting salons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year, as President Trump took office, the network of artists began to discuss the national political landscape.\u003c/p>\n\u003cp>As a queer person, Wyman says they asked themself the question: “How can I work with immigrants in order to craft something that speaks to this political moment in some way, shape or form?”\u003c/p>\n\u003cp>When they landed on the idea of exhibiting queer and immigrant artists, exhibition co-curator Gill pointed out a huge barrier artists face when submitting work.\u003c/p>\n\u003cfigure id=\"attachment_13970991\" class=\"wp-caption aligncenter\" style=\"max-width: 1166px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS12-e1738617515147.png\" alt=\"An abstract indigo circular image.\" width=\"1166\" height=\"1534\" class=\"size-full wp-image-13970991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS12-e1738617515147.png 1166w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS12-e1738617515147-800x1052.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS12-e1738617515147-1020x1342.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS12-e1738617515147-160x210.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS12-e1738617515147-768x1010.png 768w\" sizes=\"auto, (max-width: 1166px) 100vw, 1166px\">\u003cfigcaption class=\"wp-caption-text\">Bushra Gill, ‘In Plain Sight,’ 2022. \u003ccite>(Bushra Gill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A lot of times shows have some sort of theme to them,” says Wyman, lamenting how that practice causes artists to create new work or not submit to shows at all. “So we decided to play off this idea of ‘nothing new.’”\u003c/p>\n\u003cp>“The assault on queer and immigrant folks is actually nothing new in this country,” they add. “It’s nothing new globally, as well.”\u003c/p>\n\u003cp>The idea of “nothing new” applied to the work shown, as well as the application process. Artists were asked to submit works that could be shown on an 8 1/2″ x 11″ sheet of paper, “with no new works, and no new words at all,” says Wyman.\u003c/p>\n\u003cp>The goal of the exhibition is to not only show how queer folks and immigrants are coming together as an act of solidarity, but also to preserve this work for future generations.\u003c/p>\n\u003cfigure id=\"attachment_13970993\" class=\"wp-caption aligncenter\" style=\"max-width: 1177px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS60-e1738617720181.png\" alt=\"A short poem written below a painted image of a body that has grown a flower where the head should be as well as one at the abdomen region.\" width=\"1177\" height=\"1517\" class=\"size-full wp-image-13970993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS60-e1738617720181.png 1177w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS60-e1738617720181-800x1031.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS60-e1738617720181-1020x1315.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS60-e1738617720181-160x206.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/NOTHING-NEW-PRINTS60-e1738617720181-768x990.png 768w\" sizes=\"auto, (max-width: 1177px) 100vw, 1177px\">\u003cfigcaption class=\"wp-caption-text\">Taneesh Kaur, ‘Embodying Kali-ma,’ 2024 \u003ccite>(Taneesh Kaur)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wyman has submitted every piece in the show to the Internet Archive, and they plan on submitting the project to \u003ca href=\"https://sfpl.org/locations/main-library/book-arts-special-collections/little-magazine-collection\">San Francisco’s Zine Archive\u003c/a> as well.\u003c/p>\n\u003cp>“Artists are notoriously terrible at archiving their work,” says Wyman with a laugh. But as the federal government works to erase the stories of immigrants and queer people, this work is more serious than ever, they said.\u003c/p>\n\u003cp>“I’ve been doing convening work for a real long time,” says Wyman, who has a background in peer exchanges and nonhierarchical leadership models. “My real hope is that we continue to deepen our conversation among groups of people that are under direct political attack, so that when we see each other in the streets, when those attacks get amped up, we know other people that we can talk to and reach out to.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘NOTHING NEW’ is on view Feb. 15–March 16, 2025 at the 465 Collective Space Gallery (465 S. Van Ness Ave., San Francisco). \u003ca href=\"https://www.queerlycomplex.com/event-details-registration/nothing-new-opening-reception\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "meet-sally-gearhart-the-most-famous-lgbtq-activist-youve-never-heard-of",
"title": "Meet Sally Gearhart, the Most Famous Bay Area LGBTQ Activist You've Never Heard Of",
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"headTitle": "Meet Sally Gearhart, the Most Famous Bay Area LGBTQ Activist You’ve Never Heard Of | KQED",
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"content": "\u003cp>Sally Gearhart is one of the most important figures in LGBTQ history that you’ve probably never heard of. She was a radical lesbian feminist whose fight for equality and change sparked movements that still continue today.\u003c/p>\n\u003cp>But unlike her friend and contemporary, Harvey Milk, there are no airport terminals or schools named after Sally. Instead, she has largely been erased from history.\u003c/p>\n\u003cfigure id=\"attachment_12020640\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12020640 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-and-Sally-Director-Deborah-Craig-courtesy-of-Deborah-Craig-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-and-Sally-Director-Deborah-Craig-courtesy-of-Deborah-Craig-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-and-Sally-Director-Deborah-Craig-courtesy-of-Deborah-Craig-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-and-Sally-Director-Deborah-Craig-courtesy-of-Deborah-Craig-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-and-Sally-Director-Deborah-Craig-courtesy-of-Deborah-Craig-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-and-Sally-Director-Deborah-Craig-courtesy-of-Deborah-Craig-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-and-Sally-Director-Deborah-Craig-courtesy-of-Deborah-Craig-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-and-Sally-Director-Deborah-Craig-courtesy-of-Deborah-Craig-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sally Gearhart and ‘Sally!’ director Deborah Craig. \u003ccite>(Courtesy of Deborah Craig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Deborah Craig wanted to change that. Craig is a filmmaker and professor at San Francisco State University. Her latest film, \u003cem>Sally!\u003c/em>, is all about the life and work of Sally Gearhart. The documentary debuted in San Francisco this summer and since then has won four audience awards, one jury award, and one best director award. Craig spoke about the film in an interview with The California Report Magazine’s Bianca Taylor.\u003c/p>\n\u003cfigure id=\"attachment_12020641\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12020641 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Miller-Gearhart-Peter-Adair-Papers-James-C.-Hormel-LGBTQIA-Center-San-Francisco-Public-Library-e1736286917204.jpg\" alt=\"\" width=\"600\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Miller-Gearhart-Peter-Adair-Papers-James-C.-Hormel-LGBTQIA-Center-San-Francisco-Public-Library-e1736286917204.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Miller-Gearhart-Peter-Adair-Papers-James-C.-Hormel-LGBTQIA-Center-San-Francisco-Public-Library-e1736286917204-160x115.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Sally Miller Gearhart. \u003ccite>(Peter Adair Papers, James C. Hormel LGBTQIA Center, San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Below are excerpts from their conversation. For the full interview on The California Report Magazine, listen to the audio at the top of this story.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: Who was Sally Gearhart? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Deborah Craig: \u003c/strong>To sum it up, Sally is complicated. Sally was this lesbian separatist [who] always had men in her life. She studied theater. She studied communication. She was a brilliant debater. She taught women’s studies and co-founded one of the first-ever women’s studies departments. She wrote fantasy novels. She moved full-time up to this women’s land community that she had co-created. She is extremely hard to pin down. The best way to say it is she’s really an amazing Renaissance woman who was always interested in everything and curious about everything and had very strong and radical opinions but also kept an open mind and was willing to change her mind.\u003c/p>\n\u003cfigure id=\"attachment_12020642\" class=\"wp-caption alignnone\" style=\"max-width: 2392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12020642 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Courtesy-of-Deborah-Craig.png\" alt=\"\" width=\"2392\" height=\"1890\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Courtesy-of-Deborah-Craig.png 2392w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Courtesy-of-Deborah-Craig-800x632.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Courtesy-of-Deborah-Craig-1020x806.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Courtesy-of-Deborah-Craig-160x126.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Courtesy-of-Deborah-Craig-1536x1214.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Courtesy-of-Deborah-Craig-2048x1618.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Courtesy-of-Deborah-Craig-1920x1517.png 1920w\" sizes=\"auto, (max-width: 2392px) 100vw, 2392px\">\u003cfigcaption class=\"wp-caption-text\">Harvey Milk and Sally Gearhart. \u003ccite>(Courtesy of Deborah Craig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why make this film now? \u003c/strong>\u003c/p>\n\u003cp>I felt a sense of urgency because, by the time I met Sally, she was either 83 or 84. She was living alone. She had health issues, she had memory decline. And it felt like if we want to do this story, we need to do it now. But the other thing we felt [was] that [her] story is relevant now because we’re fighting those same battles. And it’s even more relevant after the election. There’s so much pushback in this country against women’s rights, against gay rights, against trans rights, etc. So this is not just a story about what happened in the past, and acknowledging the part that Sally played back then. It’s a story about how to fight for social justice. And Sally, as imperfect as she is, is such a beautiful role model of how to do that. And in fact, her imperfection makes her a role model in my mind, because there are no perfect heroes.\u003c/p>\n\u003cfigure id=\"attachment_12020647\" class=\"wp-caption alignnone\" style=\"max-width: 1088px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12020647 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Photo-Credit_-Steve-Savage.jpg\" alt=\"\" width=\"1088\" height=\"865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Photo-Credit_-Steve-Savage.jpg 1088w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Photo-Credit_-Steve-Savage-800x636.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Photo-Credit_-Steve-Savage-1020x811.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Photo-Credit_-Steve-Savage-160x127.jpg 160w\" sizes=\"auto, (max-width: 1088px) 100vw, 1088px\">\u003cfigcaption class=\"wp-caption-text\">Harvey Milk and Sally Gearhart. \u003ccite>(Courtesy of Steve Savage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sally Gearhart was instrumental in working with Harvey Milk to defeat Proposition 6, which would have banned gay people from working in public schools. But in the feature film, \u003cem>MILK\u003c/em>, Sally is completely left out. What happened? \u003c/strong>\u003c/p>\n\u003cp>There are a lot of people who are incredibly angry that Sally was left out of the film. And I talked to a lot of them. And Sally, I think, was very hurt that she was left out of the film. What helps me understand it is this: The Milk film was made in 2008. Sally left San Francisco in 1991, and she was up in her little cabin in Willits. So, she was erased, \u003cem>and \u003c/em>she removed herself from the spotlight. … I think both of those things are true.\u003c/p>\n\u003cfigure id=\"attachment_12020733\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12020733\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Copy-of-KQED-side-by-side-downpage-image.jpg\" alt=\"A double image, on the left is a woman speaking into a microphone with the words 'No on 6' written behind her on a stage. On the right, the same woman but older is sitting and smoking a pipe by a window with trees outside, both photos are black and white.\" width=\"2500\" height=\"833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Copy-of-KQED-side-by-side-downpage-image.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Copy-of-KQED-side-by-side-downpage-image-800x267.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Copy-of-KQED-side-by-side-downpage-image-1020x340.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Copy-of-KQED-side-by-side-downpage-image-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Copy-of-KQED-side-by-side-downpage-image-1536x512.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Copy-of-KQED-side-by-side-downpage-image-2048x682.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Copy-of-KQED-side-by-side-downpage-image-1920x640.jpg 1920w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Left: Sally Gearhart at a ‘No on 6’ rally. Right: A photograph of Sally Gearhart in Willits, Mendocino County. \u003ccite>(Left photo: Steve Savage. Right photo: Robert Giard Photographs Collection, James C. Hormel LGBTQIA Center, San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sally did — and said — controversial things that were included in the film. Was there a worry this would put people off of Sally, especially men?\u003c/strong>\u003c/p>\n\u003cp>I don’t think you make a film about Sally Gearhart and worry about offending somebody. So I just really made a practice of listening to people when they got offended and tried to learn from it. But you know what? I never heard anybody get their feathers ruffled about that one, interestingly enough. And more often, I found myself in scenes like doing the sound mix in the booth with two straight men who were laughing their asses off at Sally because she’s so funny and she’s so charming. And that made me so happy because it made me feel like she’s reaching … a lot of people because she’s so smart and charming and funny. And I think that was her superpower: her humor and her charm and being self-deprecating and funny. She could say something really outrageous and then say it with a smile and a twinkle in her eye.\u003c/p>\n\u003cfigure id=\"attachment_12020655\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12020655 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-with-activist-Cleve-Jones-Photo-Credit_-Daniel-Nicoletta-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-with-activist-Cleve-Jones-Photo-Credit_-Daniel-Nicoletta-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-with-activist-Cleve-Jones-Photo-Credit_-Daniel-Nicoletta-800x629.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-with-activist-Cleve-Jones-Photo-Credit_-Daniel-Nicoletta-1020x802.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-with-activist-Cleve-Jones-Photo-Credit_-Daniel-Nicoletta-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-with-activist-Cleve-Jones-Photo-Credit_-Daniel-Nicoletta-1536x1207.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-with-activist-Cleve-Jones-Photo-Credit_-Daniel-Nicoletta-2048x1609.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-with-activist-Cleve-Jones-Photo-Credit_-Daniel-Nicoletta-1920x1509.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sally Gearhart and Cleve Jones at Harvey Milk’s Birthday Street party — just one night after the White Night Riots — on May 22, 1979. \u003ccite>(Daniel Nicoletta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What would Sally think of the current moment we’re living in?\u003c/strong>\u003c/p>\n\u003cp>It’s sort of like deja vu all over again. There are so many battles that were fought that we need to re-fight. And Sally, I guess depending on whether we channeled Sally in her 40s or 50s or 60s or 80s, would be either ready to step up on the podium and speak up or would want other people to step up and take the baton. I really hope that this film makes young people motivated to step up and get involved, and fight the kind of fights that we’re going to need to fight. And realize that fighting for social justice can be not just a slog but an adventure. It can be fun and exciting, and [we] can approach it with a spirit of kind of can-do-ness and curiosity. And so I hope that people can channel that sort of Sally vibe and spirit to help us move forward.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Sally Gearhart was an influential activist who shaped LGBTQ history and the women’s movement in the Bay Area. So why don’t more people know about her? ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sally Gearhart is one of the most important figures in LGBTQ history that you’ve probably never heard of. She was a radical lesbian feminist whose fight for equality and change sparked movements that still continue today.\u003c/p>\n\u003cp>But unlike her friend and contemporary, Harvey Milk, there are no airport terminals or schools named after Sally. Instead, she has largely been erased from history.\u003c/p>\n\u003cfigure id=\"attachment_12020640\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12020640 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-and-Sally-Director-Deborah-Craig-courtesy-of-Deborah-Craig-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-and-Sally-Director-Deborah-Craig-courtesy-of-Deborah-Craig-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-and-Sally-Director-Deborah-Craig-courtesy-of-Deborah-Craig-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-and-Sally-Director-Deborah-Craig-courtesy-of-Deborah-Craig-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-and-Sally-Director-Deborah-Craig-courtesy-of-Deborah-Craig-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-and-Sally-Director-Deborah-Craig-courtesy-of-Deborah-Craig-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-and-Sally-Director-Deborah-Craig-courtesy-of-Deborah-Craig-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-and-Sally-Director-Deborah-Craig-courtesy-of-Deborah-Craig-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sally Gearhart and ‘Sally!’ director Deborah Craig. \u003ccite>(Courtesy of Deborah Craig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Deborah Craig wanted to change that. Craig is a filmmaker and professor at San Francisco State University. Her latest film, \u003cem>Sally!\u003c/em>, is all about the life and work of Sally Gearhart. The documentary debuted in San Francisco this summer and since then has won four audience awards, one jury award, and one best director award. Craig spoke about the film in an interview with The California Report Magazine’s Bianca Taylor.\u003c/p>\n\u003cfigure id=\"attachment_12020641\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12020641 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Miller-Gearhart-Peter-Adair-Papers-James-C.-Hormel-LGBTQIA-Center-San-Francisco-Public-Library-e1736286917204.jpg\" alt=\"\" width=\"600\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Miller-Gearhart-Peter-Adair-Papers-James-C.-Hormel-LGBTQIA-Center-San-Francisco-Public-Library-e1736286917204.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Miller-Gearhart-Peter-Adair-Papers-James-C.-Hormel-LGBTQIA-Center-San-Francisco-Public-Library-e1736286917204-160x115.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Sally Miller Gearhart. \u003ccite>(Peter Adair Papers, James C. Hormel LGBTQIA Center, San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Below are excerpts from their conversation. For the full interview on The California Report Magazine, listen to the audio at the top of this story.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: Who was Sally Gearhart? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Deborah Craig: \u003c/strong>To sum it up, Sally is complicated. Sally was this lesbian separatist [who] always had men in her life. She studied theater. She studied communication. She was a brilliant debater. She taught women’s studies and co-founded one of the first-ever women’s studies departments. She wrote fantasy novels. She moved full-time up to this women’s land community that she had co-created. She is extremely hard to pin down. The best way to say it is she’s really an amazing Renaissance woman who was always interested in everything and curious about everything and had very strong and radical opinions but also kept an open mind and was willing to change her mind.\u003c/p>\n\u003cfigure id=\"attachment_12020642\" class=\"wp-caption alignnone\" style=\"max-width: 2392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12020642 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Courtesy-of-Deborah-Craig.png\" alt=\"\" width=\"2392\" height=\"1890\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Courtesy-of-Deborah-Craig.png 2392w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Courtesy-of-Deborah-Craig-800x632.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Courtesy-of-Deborah-Craig-1020x806.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Courtesy-of-Deborah-Craig-160x126.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Courtesy-of-Deborah-Craig-1536x1214.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Courtesy-of-Deborah-Craig-2048x1618.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Courtesy-of-Deborah-Craig-1920x1517.png 1920w\" sizes=\"auto, (max-width: 2392px) 100vw, 2392px\">\u003cfigcaption class=\"wp-caption-text\">Harvey Milk and Sally Gearhart. \u003ccite>(Courtesy of Deborah Craig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why make this film now? \u003c/strong>\u003c/p>\n\u003cp>I felt a sense of urgency because, by the time I met Sally, she was either 83 or 84. She was living alone. She had health issues, she had memory decline. And it felt like if we want to do this story, we need to do it now. But the other thing we felt [was] that [her] story is relevant now because we’re fighting those same battles. And it’s even more relevant after the election. There’s so much pushback in this country against women’s rights, against gay rights, against trans rights, etc. So this is not just a story about what happened in the past, and acknowledging the part that Sally played back then. It’s a story about how to fight for social justice. And Sally, as imperfect as she is, is such a beautiful role model of how to do that. And in fact, her imperfection makes her a role model in my mind, because there are no perfect heroes.\u003c/p>\n\u003cfigure id=\"attachment_12020647\" class=\"wp-caption alignnone\" style=\"max-width: 1088px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12020647 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Photo-Credit_-Steve-Savage.jpg\" alt=\"\" width=\"1088\" height=\"865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Photo-Credit_-Steve-Savage.jpg 1088w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Photo-Credit_-Steve-Savage-800x636.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Photo-Credit_-Steve-Savage-1020x811.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Harvey-Milk-and-Sally-Gearhart-Photo-Credit_-Steve-Savage-160x127.jpg 160w\" sizes=\"auto, (max-width: 1088px) 100vw, 1088px\">\u003cfigcaption class=\"wp-caption-text\">Harvey Milk and Sally Gearhart. \u003ccite>(Courtesy of Steve Savage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sally Gearhart was instrumental in working with Harvey Milk to defeat Proposition 6, which would have banned gay people from working in public schools. But in the feature film, \u003cem>MILK\u003c/em>, Sally is completely left out. What happened? \u003c/strong>\u003c/p>\n\u003cp>There are a lot of people who are incredibly angry that Sally was left out of the film. And I talked to a lot of them. And Sally, I think, was very hurt that she was left out of the film. What helps me understand it is this: The Milk film was made in 2008. Sally left San Francisco in 1991, and she was up in her little cabin in Willits. So, she was erased, \u003cem>and \u003c/em>she removed herself from the spotlight. … I think both of those things are true.\u003c/p>\n\u003cfigure id=\"attachment_12020733\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12020733\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Copy-of-KQED-side-by-side-downpage-image.jpg\" alt=\"A double image, on the left is a woman speaking into a microphone with the words 'No on 6' written behind her on a stage. On the right, the same woman but older is sitting and smoking a pipe by a window with trees outside, both photos are black and white.\" width=\"2500\" height=\"833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Copy-of-KQED-side-by-side-downpage-image.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Copy-of-KQED-side-by-side-downpage-image-800x267.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Copy-of-KQED-side-by-side-downpage-image-1020x340.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Copy-of-KQED-side-by-side-downpage-image-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Copy-of-KQED-side-by-side-downpage-image-1536x512.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Copy-of-KQED-side-by-side-downpage-image-2048x682.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Copy-of-KQED-side-by-side-downpage-image-1920x640.jpg 1920w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Left: Sally Gearhart at a ‘No on 6’ rally. Right: A photograph of Sally Gearhart in Willits, Mendocino County. \u003ccite>(Left photo: Steve Savage. Right photo: Robert Giard Photographs Collection, James C. Hormel LGBTQIA Center, San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sally did — and said — controversial things that were included in the film. Was there a worry this would put people off of Sally, especially men?\u003c/strong>\u003c/p>\n\u003cp>I don’t think you make a film about Sally Gearhart and worry about offending somebody. So I just really made a practice of listening to people when they got offended and tried to learn from it. But you know what? I never heard anybody get their feathers ruffled about that one, interestingly enough. And more often, I found myself in scenes like doing the sound mix in the booth with two straight men who were laughing their asses off at Sally because she’s so funny and she’s so charming. And that made me so happy because it made me feel like she’s reaching … a lot of people because she’s so smart and charming and funny. And I think that was her superpower: her humor and her charm and being self-deprecating and funny. She could say something really outrageous and then say it with a smile and a twinkle in her eye.\u003c/p>\n\u003cfigure id=\"attachment_12020655\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12020655 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-with-activist-Cleve-Jones-Photo-Credit_-Daniel-Nicoletta-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-with-activist-Cleve-Jones-Photo-Credit_-Daniel-Nicoletta-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-with-activist-Cleve-Jones-Photo-Credit_-Daniel-Nicoletta-800x629.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-with-activist-Cleve-Jones-Photo-Credit_-Daniel-Nicoletta-1020x802.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-with-activist-Cleve-Jones-Photo-Credit_-Daniel-Nicoletta-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-with-activist-Cleve-Jones-Photo-Credit_-Daniel-Nicoletta-1536x1207.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-with-activist-Cleve-Jones-Photo-Credit_-Daniel-Nicoletta-2048x1609.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/Sally-Gearhart-with-activist-Cleve-Jones-Photo-Credit_-Daniel-Nicoletta-1920x1509.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sally Gearhart and Cleve Jones at Harvey Milk’s Birthday Street party — just one night after the White Night Riots — on May 22, 1979. \u003ccite>(Daniel Nicoletta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What would Sally think of the current moment we’re living in?\u003c/strong>\u003c/p>\n\u003cp>It’s sort of like deja vu all over again. There are so many battles that were fought that we need to re-fight. And Sally, I guess depending on whether we channeled Sally in her 40s or 50s or 60s or 80s, would be either ready to step up on the podium and speak up or would want other people to step up and take the baton. I really hope that this film makes young people motivated to step up and get involved, and fight the kind of fights that we’re going to need to fight. And realize that fighting for social justice can be not just a slog but an adventure. It can be fun and exciting, and [we] can approach it with a spirit of kind of can-do-ness and curiosity. And so I hope that people can channel that sort of Sally vibe and spirit to help us move forward.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Like most good stories about underappreciated artists, filmmaker Arthur J. Bressan Jr.’s revival begins with a pile of cardboard boxes. Specifically, crates of scripts, correspondence and film reels sitting in a \u003ca href=\"https://www.frameline.org\">Frameline\u003c/a> office in 1992. In that pile, Jenni Olson, Bay Area filmmaker, curator, archivist, online pioneer and then-Frameline festival co-director, discovered what would become one of her biggest undertakings: bringing Bressan’s work back to audiences.\u003c/p>\n\u003cp>[aside postID='arts_13970047,arts_13970799']As with many tales of this kind, even after the physical media was rediscovered, copyright issues kept Bressan’s films in limbo for several more decades. Only recently has his powerful oeuvre begun to receive the praise it deserves, thanks to \u003ca href=\"https://bressanproject.wixsite.com/website\">The Bressan Project\u003c/a>, an ongoing effort by Olson and Bressan’s sister, Roe Bressan, to preserve, restore and distribute the work of the late filmmaker. \u003c/p>\n\u003cp>Before he died of AIDS in 1987, at age 44, Bressan was a filmmaker’s filmmaker, creating a vivid range of work including documentaries, narrative-driven pornography, and his 1985 landmark feature, \u003cem>Buddies\u003c/em>, the first dramatic film to focus on the HIV/AIDS pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13970983\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop.jpg\" alt=\"man in hospital smock and mask looks down at man on hospital bed\" width=\"1500\" height=\"1124\" class=\"size-full wp-image-13970983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-768x575.jpg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A still from Arthur J. Bressan’s ‘Buddies,’ 1985, screening at the Roxie on Feb. 22, 2025 as part of ’40 Years of Queer.’ \u003ccite>(Courtesy of Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was very proud that he made all kinds of movies. He felt it was all part of filmmaking,” Olson explains. “All of his work is instilled with a gay liberation ethos, even the porn films.” In the adult film \u003cem>Passing Strangers\u003c/em>, the characters march down Polk Street in the real-life 1974 Gay Freedom Day parade.\u003c/p>\n\u003cp>In Bressan’s commitment to depictions of joyful queer life set in San Francisco, Olson has an antecedent. Her own multihyphenate career is as much about preserving and presenting the work of others as it is about creating what she describes as “urban landscape essay films,” most of which feature San Francisco or California history as a character all its own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I always say my films are about a butch dyke pining over unavailable women, and some other topic,” she laughs.\u003c/p>\n\u003cp>In addition to spearheading Bressan’s revival, Olson is enjoying several retrospectives of her own work — both feature and short films — while curating multiple series on both sides of the Bay. Over the next few months, both filmmakers are getting their due, and local audiences are getting a chance to take in rare and important examples of queer cinema at the Berkeley Art Museum and Pacific Film Archive, the Roxie and 4 Star Theater. \u003c/p>\n\u003cfigure id=\"attachment_13970796\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000.jpg\" alt=\"portrait of person in plaid shirt with short gray hair, hand on chin\" width=\"2000\" height=\"2500\" class=\"size-full wp-image-13970796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1920x2400.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker, curator, archivist and online pioneer Jenni Olson is the force behind much of the queer cinema gracing Bay Area screens this winter and spring. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Queer film in the spotlight\u003c/h2>\n\u003cp>Through Feb. 23, BAMPFA is presenting the Olson-curated series \u003ca href=\"https://bampfa.org/program/masc-ii\">Masc II: Mascs plus Muchachas\u003c/a>, a celebration of masc, butch, and trans-focused films (a follow-up to \u003ca href=\"https://www.kqed.org/arts/13950600/bampfa-film-masc-trans-men-butch-dykes-gender-nonconforming-heroes\">last year’s Masc series\u003c/a>, co-curated by Olson). \u003c/p>\n\u003cp>This year’s lineup includes several remarkable rarities, including Shusuke Kaneko’s 1988 soft-focus fantasy \u003cem>Summer Vacation 1999\u003c/em>, a gender-bending melodrama that largely fell out of circulation in the past three decades. And screening in the Bay Area for the first time in 74 years, \u003cem>Muchachas de uniforme\u003c/em> is a 1951 Mexico remake of \u003cem>Mädchen in Uniform\u003c/em>, a cult classic considered the first openly lesbian film.\u003c/p>\n\u003cp>On Monday, Feb. 24 — the day after the BAMPFA series wraps — the 4 Star Theater screens \u003cem>\u003ca href=\"https://www.4-star-movies.com/calendar-of-events/juice-7-pm-a-post-screening-discussion-with-queer-archivistfilmmaker-jenni-olson\">Juice\u003c/a>\u003c/em>, Bressan’s final adult film, to an audience 18 and over. (Yes, attendees will be carded.) Olson will introduce and then lead a post-screening discussion.\u003c/p>\n\u003cfigure id=\"attachment_13970793\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004.jpg\" alt=\"a person in a uniform sits on a windowsill reading\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13970793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Shusuke Kaneko’s 1988 film ‘Summer Vacation 1999.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And starting Feb. 16 and spanning several months this spring, moviegoers have the opportunity to take in Olson’s exciting lineup, \u003ca href=\"https://roxie.com/series/40-years-of-queer/\">40 Years of Queer\u003c/a>, co-curated with Roxie Executive Director Lex Sloan. Included in the program is Bressan’s \u003cem>Buddies\u003c/em>.\u003c/p>\n\u003cp>Centered on two gay men who connect through an HIV hospice support program, \u003cem>Buddies\u003c/em> feels like both a time capsule and timeless. It’s a beautifully simple narrative film with an invaluable premise: We can and do change one another’s lives, especially when pandemics force us to face our own purpose and mortality. (If you miss the Roxie screening, \u003cem>Buddies\u003c/em> is currently on the \u003ca href=\"https://www.criterionchannel.com/buddies\">Criterion Channel\u003c/a>, and the San Francisco Public Library has both the DVD and Blu-ray discs.)\u003c/p>\n\u003cp>The Roxie series is rounded out with April screenings of Olson’s own lyrical features, \u003cem>\u003ca href=\"https://roxie.com/film/the-royal-road-2015-575-castro-st-2008/\">The Royal Road\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://roxie.com/film/the-joy-of-life-2005-blue-diary-1998/\">The Joy of Life\u003c/a>\u003c/em>. Each is paired with a short film, \u003cem>575 Castro Street\u003c/em> and \u003cem>Blue Diary\u003c/em>, respectively, the latter featuring notable time markers such as sub-$2-a-gallon fuel prices and the \u003ca href=\"https://www.foundsf.org/index.php?title=17_Reasons_Remembered\">17 Reasons Why! sign\u003c/a>, formerly located at 17th and Mission.\u003c/p>\n\u003cfigure id=\"attachment_13970981\" class=\"wp-caption aligncenter\" style=\"max-width: 1435px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson.png\" alt=\"San Francisco city street in shadow with '17 Reasons Why!' sign at center\" width=\"1435\" height=\"1075\" class=\"size-full wp-image-13970981\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson.png 1435w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-800x599.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-1020x764.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-768x575.png 768w\" sizes=\"auto, (max-width: 1435px) 100vw, 1435px\">\u003cfigcaption class=\"wp-caption-text\">A production still from Jenni Olson’s short film ‘Blue Diary,’ 1998. \u003ccite>(Courtesy of Jenni Olson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A filmmaking conversation across time\u003c/h2>\n\u003cp>Olson has been shooting 16mm film in the Bay Area since 1997. Her films draw on a rich reservoir of hyperlocal landmarks and iconography, so similar to the way Bressan pulled from elements of queer life in real time. \u003c/p>\n\u003cp>“My work is so anchored in the Bay Area, so I’m particularly excited for my films to show at the Roxie and BAMPFA and connect with audiences who appreciate this is the \u003cem>real\u003c/em> Bay Area,” Olson says. These screenings and Q&As may double as gentle promotion for her next feature, \u003cem>\u003ca href=\"https://tellmeeverythingwillbeokay.weebly.com\">Tell Me Everything Will Be Okay\u003c/a>\u003c/em>, currently in the early stages of production.\u003c/p>\n\u003cp>Thanks to Olson’s stewardship, the contents of those once-neglected boxes found in the Frameline offices have joined proper archives, with Bressan’s papers now part of Cornell University’s \u003ca href=\"https://rare.library.cornell.edu/human-sexuality-collection/\">Human Sexuality Collection\u003c/a>, and his films preserved and restored by the \u003ca href=\"https://www.cinema.ucla.edu\">UCLA Film and Television Archive\u003c/a>. \u003c/p>\n\u003cp>https://vimeo.com/444287121\u003c/p>\n\u003cp>Increasingly, his films are moving onto digital platforms and reaching even more audiences. The Criterion Channel is currently streaming the restored documentary \u003cem>\u003ca href=\"https://www.criterionchannel.com/gay-usa\">Gay USA\u003c/a>\u003c/em>, a 72-minute collage of 1977 Gay Freedom Day march footage from six cities, including evocative and delightful interviews set against San Francisco’s Market Street and Civic Center.\u003c/p>\n\u003cp>Even though they never met, Olson’s and Bressan’s films speak to each other. Both draw inspiration from Frank Capra melodramas, but their work commits to a sincerity that makes audiences feel deeply. Neither veers into maudlin territory. \u003c/p>\n\u003cp>“My work is very engaged with vulnerability on a lot of levels, and in that way it is ambitious and courageous,” Olson explains. Similarly, Bressan’s films are boldly queer-positive and earnestly romantic, especially his plot-driven adult films. It’s no surprise that audiences, including Olson, connect deeply with his work. \u003c/p>\n\u003cp>As Olson says, “I never knew Arthur, but I feel so close to him.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/program/masc-ii\">Masc II: Mascs plus Muchachas\u003c/a>,’ a film series curated by Jenni Olson, continues at the Berkeley Art Museum and Pacific Film Archive through Feb. 23. Arthur J. Bressan Jr.’s ‘\u003ca href=\"https://www.4-star-movies.com/calendar-of-events/juice-jenni-olson\">Juice\u003c/a>’ plays at the 4 Star Theater with a post-screening conversation with Olson on Feb. 24. ‘\u003ca href=\"https://roxie.com/series/40-years-of-queer/\">40 Years of Queer\u003c/a>’ plays at the Roxie Theater Feb. 16–April 8.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like most good stories about underappreciated artists, filmmaker Arthur J. Bressan Jr.’s revival begins with a pile of cardboard boxes. Specifically, crates of scripts, correspondence and film reels sitting in a \u003ca href=\"https://www.frameline.org\">Frameline\u003c/a> office in 1992. In that pile, Jenni Olson, Bay Area filmmaker, curator, archivist, online pioneer and then-Frameline festival co-director, discovered what would become one of her biggest undertakings: bringing Bressan’s work back to audiences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As with many tales of this kind, even after the physical media was rediscovered, copyright issues kept Bressan’s films in limbo for several more decades. Only recently has his powerful oeuvre begun to receive the praise it deserves, thanks to \u003ca href=\"https://bressanproject.wixsite.com/website\">The Bressan Project\u003c/a>, an ongoing effort by Olson and Bressan’s sister, Roe Bressan, to preserve, restore and distribute the work of the late filmmaker. \u003c/p>\n\u003cp>Before he died of AIDS in 1987, at age 44, Bressan was a filmmaker’s filmmaker, creating a vivid range of work including documentaries, narrative-driven pornography, and his 1985 landmark feature, \u003cem>Buddies\u003c/em>, the first dramatic film to focus on the HIV/AIDS pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13970983\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop.jpg\" alt=\"man in hospital smock and mask looks down at man on hospital bed\" width=\"1500\" height=\"1124\" class=\"size-full wp-image-13970983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-768x575.jpg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A still from Arthur J. Bressan’s ‘Buddies,’ 1985, screening at the Roxie on Feb. 22, 2025 as part of ’40 Years of Queer.’ \u003ccite>(Courtesy of Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was very proud that he made all kinds of movies. He felt it was all part of filmmaking,” Olson explains. “All of his work is instilled with a gay liberation ethos, even the porn films.” In the adult film \u003cem>Passing Strangers\u003c/em>, the characters march down Polk Street in the real-life 1974 Gay Freedom Day parade.\u003c/p>\n\u003cp>In Bressan’s commitment to depictions of joyful queer life set in San Francisco, Olson has an antecedent. Her own multihyphenate career is as much about preserving and presenting the work of others as it is about creating what she describes as “urban landscape essay films,” most of which feature San Francisco or California history as a character all its own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I always say my films are about a butch dyke pining over unavailable women, and some other topic,” she laughs.\u003c/p>\n\u003cp>In addition to spearheading Bressan’s revival, Olson is enjoying several retrospectives of her own work — both feature and short films — while curating multiple series on both sides of the Bay. Over the next few months, both filmmakers are getting their due, and local audiences are getting a chance to take in rare and important examples of queer cinema at the Berkeley Art Museum and Pacific Film Archive, the Roxie and 4 Star Theater. \u003c/p>\n\u003cfigure id=\"attachment_13970796\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000.jpg\" alt=\"portrait of person in plaid shirt with short gray hair, hand on chin\" width=\"2000\" height=\"2500\" class=\"size-full wp-image-13970796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1920x2400.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker, curator, archivist and online pioneer Jenni Olson is the force behind much of the queer cinema gracing Bay Area screens this winter and spring. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Queer film in the spotlight\u003c/h2>\n\u003cp>Through Feb. 23, BAMPFA is presenting the Olson-curated series \u003ca href=\"https://bampfa.org/program/masc-ii\">Masc II: Mascs plus Muchachas\u003c/a>, a celebration of masc, butch, and trans-focused films (a follow-up to \u003ca href=\"https://www.kqed.org/arts/13950600/bampfa-film-masc-trans-men-butch-dykes-gender-nonconforming-heroes\">last year’s Masc series\u003c/a>, co-curated by Olson). \u003c/p>\n\u003cp>This year’s lineup includes several remarkable rarities, including Shusuke Kaneko’s 1988 soft-focus fantasy \u003cem>Summer Vacation 1999\u003c/em>, a gender-bending melodrama that largely fell out of circulation in the past three decades. And screening in the Bay Area for the first time in 74 years, \u003cem>Muchachas de uniforme\u003c/em> is a 1951 Mexico remake of \u003cem>Mädchen in Uniform\u003c/em>, a cult classic considered the first openly lesbian film.\u003c/p>\n\u003cp>On Monday, Feb. 24 — the day after the BAMPFA series wraps — the 4 Star Theater screens \u003cem>\u003ca href=\"https://www.4-star-movies.com/calendar-of-events/juice-7-pm-a-post-screening-discussion-with-queer-archivistfilmmaker-jenni-olson\">Juice\u003c/a>\u003c/em>, Bressan’s final adult film, to an audience 18 and over. (Yes, attendees will be carded.) Olson will introduce and then lead a post-screening discussion.\u003c/p>\n\u003cfigure id=\"attachment_13970793\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004.jpg\" alt=\"a person in a uniform sits on a windowsill reading\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13970793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Shusuke Kaneko’s 1988 film ‘Summer Vacation 1999.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And starting Feb. 16 and spanning several months this spring, moviegoers have the opportunity to take in Olson’s exciting lineup, \u003ca href=\"https://roxie.com/series/40-years-of-queer/\">40 Years of Queer\u003c/a>, co-curated with Roxie Executive Director Lex Sloan. Included in the program is Bressan’s \u003cem>Buddies\u003c/em>.\u003c/p>\n\u003cp>Centered on two gay men who connect through an HIV hospice support program, \u003cem>Buddies\u003c/em> feels like both a time capsule and timeless. It’s a beautifully simple narrative film with an invaluable premise: We can and do change one another’s lives, especially when pandemics force us to face our own purpose and mortality. (If you miss the Roxie screening, \u003cem>Buddies\u003c/em> is currently on the \u003ca href=\"https://www.criterionchannel.com/buddies\">Criterion Channel\u003c/a>, and the San Francisco Public Library has both the DVD and Blu-ray discs.)\u003c/p>\n\u003cp>The Roxie series is rounded out with April screenings of Olson’s own lyrical features, \u003cem>\u003ca href=\"https://roxie.com/film/the-royal-road-2015-575-castro-st-2008/\">The Royal Road\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://roxie.com/film/the-joy-of-life-2005-blue-diary-1998/\">The Joy of Life\u003c/a>\u003c/em>. Each is paired with a short film, \u003cem>575 Castro Street\u003c/em> and \u003cem>Blue Diary\u003c/em>, respectively, the latter featuring notable time markers such as sub-$2-a-gallon fuel prices and the \u003ca href=\"https://www.foundsf.org/index.php?title=17_Reasons_Remembered\">17 Reasons Why! sign\u003c/a>, formerly located at 17th and Mission.\u003c/p>\n\u003cfigure id=\"attachment_13970981\" class=\"wp-caption aligncenter\" style=\"max-width: 1435px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson.png\" alt=\"San Francisco city street in shadow with '17 Reasons Why!' sign at center\" width=\"1435\" height=\"1075\" class=\"size-full wp-image-13970981\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson.png 1435w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-800x599.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-1020x764.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-768x575.png 768w\" sizes=\"auto, (max-width: 1435px) 100vw, 1435px\">\u003cfigcaption class=\"wp-caption-text\">A production still from Jenni Olson’s short film ‘Blue Diary,’ 1998. \u003ccite>(Courtesy of Jenni Olson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A filmmaking conversation across time\u003c/h2>\n\u003cp>Olson has been shooting 16mm film in the Bay Area since 1997. Her films draw on a rich reservoir of hyperlocal landmarks and iconography, so similar to the way Bressan pulled from elements of queer life in real time. \u003c/p>\n\u003cp>“My work is so anchored in the Bay Area, so I’m particularly excited for my films to show at the Roxie and BAMPFA and connect with audiences who appreciate this is the \u003cem>real\u003c/em> Bay Area,” Olson says. These screenings and Q&As may double as gentle promotion for her next feature, \u003cem>\u003ca href=\"https://tellmeeverythingwillbeokay.weebly.com\">Tell Me Everything Will Be Okay\u003c/a>\u003c/em>, currently in the early stages of production.\u003c/p>\n\u003cp>Thanks to Olson’s stewardship, the contents of those once-neglected boxes found in the Frameline offices have joined proper archives, with Bressan’s papers now part of Cornell University’s \u003ca href=\"https://rare.library.cornell.edu/human-sexuality-collection/\">Human Sexuality Collection\u003c/a>, and his films preserved and restored by the \u003ca href=\"https://www.cinema.ucla.edu\">UCLA Film and Television Archive\u003c/a>. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Increasingly, his films are moving onto digital platforms and reaching even more audiences. The Criterion Channel is currently streaming the restored documentary \u003cem>\u003ca href=\"https://www.criterionchannel.com/gay-usa\">Gay USA\u003c/a>\u003c/em>, a 72-minute collage of 1977 Gay Freedom Day march footage from six cities, including evocative and delightful interviews set against San Francisco’s Market Street and Civic Center.\u003c/p>\n\u003cp>Even though they never met, Olson’s and Bressan’s films speak to each other. Both draw inspiration from Frank Capra melodramas, but their work commits to a sincerity that makes audiences feel deeply. Neither veers into maudlin territory. \u003c/p>\n\u003cp>“My work is very engaged with vulnerability on a lot of levels, and in that way it is ambitious and courageous,” Olson explains. Similarly, Bressan’s films are boldly queer-positive and earnestly romantic, especially his plot-driven adult films. It’s no surprise that audiences, including Olson, connect deeply with his work. \u003c/p>\n\u003cp>As Olson says, “I never knew Arthur, but I feel so close to him.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/program/masc-ii\">Masc II: Mascs plus Muchachas\u003c/a>,’ a film series curated by Jenni Olson, continues at the Berkeley Art Museum and Pacific Film Archive through Feb. 23. Arthur J. Bressan Jr.’s ‘\u003ca href=\"https://www.4-star-movies.com/calendar-of-events/juice-jenni-olson\">Juice\u003c/a>’ plays at the 4 Star Theater with a post-screening conversation with Olson on Feb. 24. ‘\u003ca href=\"https://roxie.com/series/40-years-of-queer/\">40 Years of Queer\u003c/a>’ plays at the Roxie Theater Feb. 16–April 8.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After Trump’s Order on ‘Two Genders,’ Trans Rights Groups Turn to Taking Action",
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"content": "\u003cp>Trans-rights advocacy groups preparing to deal with the repercussions of an \u003ca href=\"https://www.kqed.org/news/12023124/trump-says-us-will-honor-only-two-genders-after-anti-trans-campaign-rhetoric\">executive order\u003c/a> signed this week by President Trump, which could jeopardize federal protections for members of the transgender community, say they will step up support efforts and are considering legal action.\u003c/p>\n\u003cp>After months of unrelenting anti-trans attacks from conservative leaders, the directive from Trump’s administration, which declares that the federal government recognizes only two sexes: male and female, did not come as a surprise to many local organizers and civil rights activists. Rolling back protections for gender-nonconforming people was always a central part of the \u003ca href=\"https://www.kqed.org/news/12015590/following-abortion-playbook-trump-likely-to-limit-federal-funding-for-trans-health-care\">president’s campaign\u003c/a>.\u003c/p>\n\u003cp>Community groups dedicated to supporting transgender and nonbinary people have been readying themselves since Trump’s electoral victory in November, said Heron Greenesmith, deputy director of policy at the Transgender Law Center in Oakland. Community outreach services are already in place to educate people on their rights and to provide legal assistance to those who need it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Greenesmith said that while Trump’s \u003ca href=\"https://www.whitehouse.gov/presidential-actions/2025/01/defending-women-from-gender-ideology-extremism-and-restoring-biological-truth-to-the-federal-government/\">executive order\u003c/a> evokes a lot of anxiety and uncertainty, they believe that now is not the time to give into fear or catastrophization but rather to take action.\u003c/p>\n\u003cp>“The purpose of this administration, the extremist right-wing administration, is to cause fear and confusion in our community,” Greenesmith said. “We expect that they’re going to enact cruel and harmful policies directed at our humanity.”\u003c/p>\n\u003cfigure id=\"attachment_12015242\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12015242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/241120-TransgenderRemembrance-13-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/241120-TransgenderRemembrance-13-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/241120-TransgenderRemembrance-13-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/241120-TransgenderRemembrance-13-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/241120-TransgenderRemembrance-13-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/241120-TransgenderRemembrance-13-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/241120-TransgenderRemembrance-13-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">About a hundred people gather for a rally on Transgender Day of Remembrance in front of City Hall in San Francisco on Nov. 20, 2024, an annual event honoring lives lost to violence against transgender people. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greenesmith urged their fellow trans-rights advocates to focus their energy on supporting the most vulnerable within the transgender community rather than on the new administration’s directives.\u003c/p>\n\u003cp>The Transgender Law Center will continue providing legal assistance to transgender people who are incarcerated, and plans are in place to secure more resources for the nonprofit’s legal help desk and hotline, they said.\u003c/p>\n\u003cp>“While this is a new administration, this work is not new. This bullying is not new. The persecution is not new,” Greenesmith continued. “We will continue to care for each other.”\u003c/p>\n\u003cp>At the Pacific Center for Human Growth, an LGBTQ nonprofit in Berkeley, workers are partnering with the national organization Advocates for Transgender Equality to host a “Know Your Trans Rights” conference at the end of February, said Lasara Firefox Allen, executive director of the Pacific Center. They said organizers will use the next month to see what the actual effects of Trump’s order will be.\u003c/p>\n\u003cp>[aside postID=news_12023321 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250121_Gender-Exec-Order_DB_00459-1020x680.jpg']\u003c/p>\n\u003cp>The center is also offering expanded mental health and peer support services to transgender people, from youth to adults, Allen said.\u003c/p>\n\u003cp>“There’s nothing the president can say that will make us give up who we are,” Allen said. “We’ve existed since before the government recognized us and will continue to do so. We don’t need the permission of the United States government in order to exist.”\u003c/p>\n\u003cp>Some organizations are already preparing to \u003ca href=\"https://www.kqed.org/news/12023321/trumps-binary-gender-mandate-leaves-trans-californians-facing-mounting-risks\">take legal action\u003c/a> against Trump’s administration and the order. Lambda Legal, a civil rights group focused on the LGBTQ community, told KQED that it would be pursuing litigation alleging violations of the Constitution’s Equal Protection Clause. The ACLU also said in a statement that it is prepared to fight if federal agencies move to enforce the order.\u003c/p>\n\u003cp>The executive order, which Trump signed only a few hours into his term, declares that a person’s gender is determined by the reproductive cells they have upon conception, and that will dictate which federally funded facilities a person is permitted to use when the spaces are segregated by sex.\u003c/p>\n\u003cp>Trump’s order also takes aim at federal policies that allow transgender and nonbinary people to self-select their gender on official government forms, an option that Trump said promotes “gender ideology” and “eradicates the biological reality of sex,” according to the order.\u003c/p>\n\u003cp>For now, advocates and community members are waiting to see which of Trump’s orders are enacted and what the effects will be in the near future.\u003c/p>\n\u003cp>“We’re ready to take care of our community in all the ways that we know how,” Allen said. “We will keep us safe.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Trans-rights advocacy groups preparing to deal with the repercussions of an \u003ca href=\"https://www.kqed.org/news/12023124/trump-says-us-will-honor-only-two-genders-after-anti-trans-campaign-rhetoric\">executive order\u003c/a> signed this week by President Trump, which could jeopardize federal protections for members of the transgender community, say they will step up support efforts and are considering legal action.\u003c/p>\n\u003cp>After months of unrelenting anti-trans attacks from conservative leaders, the directive from Trump’s administration, which declares that the federal government recognizes only two sexes: male and female, did not come as a surprise to many local organizers and civil rights activists. Rolling back protections for gender-nonconforming people was always a central part of the \u003ca href=\"https://www.kqed.org/news/12015590/following-abortion-playbook-trump-likely-to-limit-federal-funding-for-trans-health-care\">president’s campaign\u003c/a>.\u003c/p>\n\u003cp>Community groups dedicated to supporting transgender and nonbinary people have been readying themselves since Trump’s electoral victory in November, said Heron Greenesmith, deputy director of policy at the Transgender Law Center in Oakland. Community outreach services are already in place to educate people on their rights and to provide legal assistance to those who need it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Greenesmith said that while Trump’s \u003ca href=\"https://www.whitehouse.gov/presidential-actions/2025/01/defending-women-from-gender-ideology-extremism-and-restoring-biological-truth-to-the-federal-government/\">executive order\u003c/a> evokes a lot of anxiety and uncertainty, they believe that now is not the time to give into fear or catastrophization but rather to take action.\u003c/p>\n\u003cp>“The purpose of this administration, the extremist right-wing administration, is to cause fear and confusion in our community,” Greenesmith said. “We expect that they’re going to enact cruel and harmful policies directed at our humanity.”\u003c/p>\n\u003cfigure id=\"attachment_12015242\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12015242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/241120-TransgenderRemembrance-13-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/241120-TransgenderRemembrance-13-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/241120-TransgenderRemembrance-13-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/241120-TransgenderRemembrance-13-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/241120-TransgenderRemembrance-13-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/241120-TransgenderRemembrance-13-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/241120-TransgenderRemembrance-13-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">About a hundred people gather for a rally on Transgender Day of Remembrance in front of City Hall in San Francisco on Nov. 20, 2024, an annual event honoring lives lost to violence against transgender people. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greenesmith urged their fellow trans-rights advocates to focus their energy on supporting the most vulnerable within the transgender community rather than on the new administration’s directives.\u003c/p>\n\u003cp>The Transgender Law Center will continue providing legal assistance to transgender people who are incarcerated, and plans are in place to secure more resources for the nonprofit’s legal help desk and hotline, they said.\u003c/p>\n\u003cp>“While this is a new administration, this work is not new. This bullying is not new. The persecution is not new,” Greenesmith continued. “We will continue to care for each other.”\u003c/p>\n\u003cp>At the Pacific Center for Human Growth, an LGBTQ nonprofit in Berkeley, workers are partnering with the national organization Advocates for Transgender Equality to host a “Know Your Trans Rights” conference at the end of February, said Lasara Firefox Allen, executive director of the Pacific Center. They said organizers will use the next month to see what the actual effects of Trump’s order will be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The center is also offering expanded mental health and peer support services to transgender people, from youth to adults, Allen said.\u003c/p>\n\u003cp>“There’s nothing the president can say that will make us give up who we are,” Allen said. “We’ve existed since before the government recognized us and will continue to do so. We don’t need the permission of the United States government in order to exist.”\u003c/p>\n\u003cp>Some organizations are already preparing to \u003ca href=\"https://www.kqed.org/news/12023321/trumps-binary-gender-mandate-leaves-trans-californians-facing-mounting-risks\">take legal action\u003c/a> against Trump’s administration and the order. Lambda Legal, a civil rights group focused on the LGBTQ community, told KQED that it would be pursuing litigation alleging violations of the Constitution’s Equal Protection Clause. The ACLU also said in a statement that it is prepared to fight if federal agencies move to enforce the order.\u003c/p>\n\u003cp>The executive order, which Trump signed only a few hours into his term, declares that a person’s gender is determined by the reproductive cells they have upon conception, and that will dictate which federally funded facilities a person is permitted to use when the spaces are segregated by sex.\u003c/p>\n\u003cp>Trump’s order also takes aim at federal policies that allow transgender and nonbinary people to self-select their gender on official government forms, an option that Trump said promotes “gender ideology” and “eradicates the biological reality of sex,” according to the order.\u003c/p>\n\u003cp>For now, advocates and community members are waiting to see which of Trump’s orders are enacted and what the effects will be in the near future.\u003c/p>\n\u003cp>“We’re ready to take care of our community in all the ways that we know how,” Allen said. “We will keep us safe.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ari Yovel, a 30-year-old rabbinical student in Oakland, said the world felt bigger the day they received a passport with an “X” because it offered legal proof of their transmasculine nonbinary identity.\u003c/p>\n\u003cp>This week, that world shrunk.\u003c/p>\n\u003cp>Among \u003ca href=\"https://www.kqed.org/news/tag/donald-trump\">President Trump\u003c/a>’s raft of actions on his first day back in office was an \u003ca href=\"https://www.whitehouse.gov/presidential-actions/2025/01/defending-women-from-gender-ideology-extremism-and-restoring-biological-truth-to-the-federal-government/\">executive order\u003c/a> mandating that all federal documents \u003ca href=\"https://www.kqed.org/news/12023124/trump-says-us-will-honor-only-two-genders-after-anti-trans-campaign-rhetoric\">recognize only two genders\u003c/a>: male and female. In its wake, many nonbinary and transgender Californians are grappling with uncertainty about their ability to travel freely.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For Yovel, the change poses immediate practical challenges.\u003c/p>\n\u003cp>“Now, we’re back to hoping TSA officials will be understanding if our documents don’t align with their expectations,” Yovel said. “Understanding your risk profile becomes a constant calculation. Traveling across state lines for a friend’s wedding, let alone leaving the country, requires careful consideration of safety.”\u003c/p>\n\u003cp>The executive order requires federal agencies to eliminate references to gender identity on official forms and policies, mandating that federal documents reflect what it terms the “immutable biological reality of sex.” That poses more than an inconvenience for gender-nonconforming people, advocates say — it creates risks for those whose legal documents no longer align with their identities.\u003c/p>\n\u003cp>“This is a big deal,” said Shannon Minter, legal director for the National Center for Lesbian Rights. “To say that transgender people have to carry a passport that misidentifies them not only invades their privacy; it forces them to disclose that they are transgender to anyone that they are interacting with. That is a pretty draconian policy that could lead to harassment and, in some countries, death.”\u003c/p>\n\u003cp>Lambda Legal, a civil rights organization, plans to file litigation arguing that targeting transgender, intersex and nonbinary people violates the Equal Protection Clause of the Constitution. The group also said that the language of the executive order constitutes a due process violation, citing its lack of specifics and vague directives.\u003c/p>\n\u003cp>“There will be litigation to test whether and where the federal government can impose discrimination contrary to California law,” said Jennifer C. Pizer, Lambda’s chief legal officer. “As well as contrary to the Constitution and existing federal statutes and the Supreme Court’s decision agreeing with us that discriminatory treatment based on transgender status or sexual orientation constitutes sex discrimination in violation of the federal employment nondiscrimination law.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/11713470/for-transgender-and-non-binary-protections-california-came-first\">California led the way\u003c/a> in providing gender-inclusive identification. Since 2019, the state has allowed residents to choose “X” as a gender marker on driver’s licenses and IDs. Jarys Maragopoulos, a San Francisco high school teacher who identifies as intersex and nonbinary, changed their gender marker on their California driver’s license.\u003c/p>\n\u003cp>“I risked the scrutiny of a future intolerant government,” Maragopoulos said. “Now that hypothetical government is quite real, and I am afraid there may be legal consequences for trans and intersex people who have left a paper trail such as a changed ID. But I have to face those consequences without giving up on my integrity.”\u003c/p>\n\u003cp>[aside postID=news_12021521 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/GettyImages-1158696624-1020x681.jpg']\u003c/p>\n\u003cp>Although state-issued IDs remain unaffected by Trump’s executive order, advocates worry about its broader implications.\u003c/p>\n\u003cp>“The intended impact on transgender people is to strip them of all legal protections in every arena, from government-issued identification documents to workplace protections, to education, housing, and health care,” Minter said. “The passport policy is instantaneous. The federal prison policy is instantaneous. These are areas where the president has the authority to merely change the policy.”\u003c/p>\n\u003cp>The State Department’s passport application system removed the “X” marker on Wednesday, but the agency has not issued formal guidance regarding how the nonbinary marker on existing passports or in-progress applications will be handled. The change leaves transgender people in a precarious position, as adult passports expire every ten years, forcing many to make difficult decisions about future travel and safety.\u003c/p>\n\u003cp>“President Trump does not have the power to erase LGBTQ+ people or deny them the right to exist freely and safely,” said Tony Hoang, executive director of Equality California. “We stand unwavering, ready to fight alongside our partners against any unjust and harmful action this administration may take toward our community.”\u003c/p>\n\u003cp>The executive order also aims to reestablish multiple policies regarding trans Americans that were in place during Trump’s first term, including \u003ca href=\"https://www.kqed.org/news/11794221/could-changing-how-transgender-inmates-are-housed-make-prison-safer-for-them\">housing trans people in federal prisons\u003c/a> based on their sex assigned at birth.\u003c/p>\n\u003cp>Minter said he is already hearing reports from transgender people inside prisons that doctors are denying them medically necessary care for gender dysphoria. Transgender women, in particular, are preparing for transfers to men’s prisons, where they face increased risks of violence and harassment.\u003c/p>\n\u003cp>“You cannot legislate trans people out of existence,” Yovel said. “You can only legislate them out of law. For many of us, this is quite literally our bodies on the line.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ari Yovel, a 30-year-old rabbinical student in Oakland, said the world felt bigger the day they received a passport with an “X” because it offered legal proof of their transmasculine nonbinary identity.\u003c/p>\n\u003cp>This week, that world shrunk.\u003c/p>\n\u003cp>Among \u003ca href=\"https://www.kqed.org/news/tag/donald-trump\">President Trump\u003c/a>’s raft of actions on his first day back in office was an \u003ca href=\"https://www.whitehouse.gov/presidential-actions/2025/01/defending-women-from-gender-ideology-extremism-and-restoring-biological-truth-to-the-federal-government/\">executive order\u003c/a> mandating that all federal documents \u003ca href=\"https://www.kqed.org/news/12023124/trump-says-us-will-honor-only-two-genders-after-anti-trans-campaign-rhetoric\">recognize only two genders\u003c/a>: male and female. In its wake, many nonbinary and transgender Californians are grappling with uncertainty about their ability to travel freely.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Yovel, the change poses immediate practical challenges.\u003c/p>\n\u003cp>“Now, we’re back to hoping TSA officials will be understanding if our documents don’t align with their expectations,” Yovel said. “Understanding your risk profile becomes a constant calculation. Traveling across state lines for a friend’s wedding, let alone leaving the country, requires careful consideration of safety.”\u003c/p>\n\u003cp>The executive order requires federal agencies to eliminate references to gender identity on official forms and policies, mandating that federal documents reflect what it terms the “immutable biological reality of sex.” That poses more than an inconvenience for gender-nonconforming people, advocates say — it creates risks for those whose legal documents no longer align with their identities.\u003c/p>\n\u003cp>“This is a big deal,” said Shannon Minter, legal director for the National Center for Lesbian Rights. “To say that transgender people have to carry a passport that misidentifies them not only invades their privacy; it forces them to disclose that they are transgender to anyone that they are interacting with. That is a pretty draconian policy that could lead to harassment and, in some countries, death.”\u003c/p>\n\u003cp>Lambda Legal, a civil rights organization, plans to file litigation arguing that targeting transgender, intersex and nonbinary people violates the Equal Protection Clause of the Constitution. The group also said that the language of the executive order constitutes a due process violation, citing its lack of specifics and vague directives.\u003c/p>\n\u003cp>“There will be litigation to test whether and where the federal government can impose discrimination contrary to California law,” said Jennifer C. Pizer, Lambda’s chief legal officer. “As well as contrary to the Constitution and existing federal statutes and the Supreme Court’s decision agreeing with us that discriminatory treatment based on transgender status or sexual orientation constitutes sex discrimination in violation of the federal employment nondiscrimination law.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/11713470/for-transgender-and-non-binary-protections-california-came-first\">California led the way\u003c/a> in providing gender-inclusive identification. Since 2019, the state has allowed residents to choose “X” as a gender marker on driver’s licenses and IDs. Jarys Maragopoulos, a San Francisco high school teacher who identifies as intersex and nonbinary, changed their gender marker on their California driver’s license.\u003c/p>\n\u003cp>“I risked the scrutiny of a future intolerant government,” Maragopoulos said. “Now that hypothetical government is quite real, and I am afraid there may be legal consequences for trans and intersex people who have left a paper trail such as a changed ID. But I have to face those consequences without giving up on my integrity.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although state-issued IDs remain unaffected by Trump’s executive order, advocates worry about its broader implications.\u003c/p>\n\u003cp>“The intended impact on transgender people is to strip them of all legal protections in every arena, from government-issued identification documents to workplace protections, to education, housing, and health care,” Minter said. “The passport policy is instantaneous. The federal prison policy is instantaneous. These are areas where the president has the authority to merely change the policy.”\u003c/p>\n\u003cp>The State Department’s passport application system removed the “X” marker on Wednesday, but the agency has not issued formal guidance regarding how the nonbinary marker on existing passports or in-progress applications will be handled. The change leaves transgender people in a precarious position, as adult passports expire every ten years, forcing many to make difficult decisions about future travel and safety.\u003c/p>\n\u003cp>“President Trump does not have the power to erase LGBTQ+ people or deny them the right to exist freely and safely,” said Tony Hoang, executive director of Equality California. “We stand unwavering, ready to fight alongside our partners against any unjust and harmful action this administration may take toward our community.”\u003c/p>\n\u003cp>The executive order also aims to reestablish multiple policies regarding trans Americans that were in place during Trump’s first term, including \u003ca href=\"https://www.kqed.org/news/11794221/could-changing-how-transgender-inmates-are-housed-make-prison-safer-for-them\">housing trans people in federal prisons\u003c/a> based on their sex assigned at birth.\u003c/p>\n\u003cp>Minter said he is already hearing reports from transgender people inside prisons that doctors are denying them medically necessary care for gender dysphoria. Transgender women, in particular, are preparing for transfers to men’s prisons, where they face increased risks of violence and harassment.\u003c/p>\n\u003cp>“You cannot legislate trans people out of existence,” Yovel said. “You can only legislate them out of law. For many of us, this is quite literally our bodies on the line.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "high-princx-pageant-drag-competition-san-francisco-2024",
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"content": "\u003cp>Last year at the High Princx Pageant, \u003ca href=\"https://www.instagram.com/hello.sassi.fran/\">Sassi Fran\u003c/a> knew she’d be competing against some of the Bay Area’s best drag performers — and getting judged by them, too. So she and her friends spent hours hand-making dozens of delicate tulle flowers that would make up the robe she’d wear on stage. She was preparing for a moment that would make everyone gasp: On the runway, she dropped her robe and revealed a luminescent mushroom outfit that changed color under the blacklight.\u003c/p>\n\u003cp>Sassi got a top score that night; the following week, with a high-drama number that incorporated Filipino folk dance, she clinched the victory. Looking back as she gets ready to relinquish her crown when the \u003ca href=\"https://www.eventbrite.com/e/the-high-princx-pageant-2025-w-pattie-gonia-118-tickets-1070805300479\">pageant returns this weekend\u003c/a>, she says the two-weekend competition gave her the motivation she needed to take her drag to new creative and technical heights.\u003c/p>\n\u003cp>“I created something that really pushed myself further than I have before,” she reflects. Indeed, her victory led to high-profile gigs, including opening for \u003cem>RuPaul’s Drag Race\u003c/em> royalty Crystal Methyd and Alaska at major venues like San Francisco’s Palace of Fine Arts and Bimbo’s 365 Club.\u003c/p>\n\u003cfigure id=\"attachment_13970361\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970361\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"2129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-800x665.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-1020x848.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-160x133.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-768x639.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-1536x1277.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-2048x1703.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-1920x1597.jpeg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sassi Fran, the winner of the 2024 High Princx Pageant, struts the runway in her mushroom look. \u003ccite>(Rachel Ziegler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Providing a stage for drag performers to elevate their craft is exactly what the pageant’s founder, \u003ca href=\"https://www.instagram.com/tito.so.to/?hl=en\">Tito Soto\u003c/a>, envisioned when he devised it as an offshoot of his popular Saturday night party at Oasis, \u003ca href=\"https://www.sfoasis.com/princess?gad_source=1&gclid=Cj0KCQiA1p28BhCBARIsADP9HrNS-G81gNbA5oC2zO8Q8i-jhzM8v4OklhyNun8HFK_NFZuiYAHAU-IaAkZEEALw_wcB\">Princess\u003c/a>. Since the pandemic, Princess has become San Francisco’s go-to destination for nationally touring drag performers and high-caliber local artists.\u003c/p>\n\u003cp>Whether a performer wants to levitate above the crowd using a scissor lift, pop confetti on cue with a beat drop or envelop the stage in plumes of fog, Oasis has the technical setup for the “wow” moments fans crave. “It wasn’t until I started doing drag in San Francisco and found Oasis that I realized, this is where I need to be, this is where I can flourish,” says Soto, who had a past life as a theme-park designer in Los Angeles. “This venue gives me the capabilities to use all the tech I need in order to execute the vision that I want to put on a big drag spectacular.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Jan. 18, Princess party-goers will meet this year’s eight High Princx contestants, who include \u003ca href=\"https://www.instagram.com/jeteguevaraog/\">Jeté Guevara\u003c/a>, a veteran performer of 30 years with a rockstar energy; \u003ca href=\"https://www.instagram.com/sadiecreekwoodsparkles/\">Sadie Creekwood\u003c/a>, who pushes the limits of campy horror; and \u003ca href=\"https://www.instagram.com/pangaeas_planet/\">Pangaea\u003c/a>, a performance artist who delivers surrealist looks with a side of activism. Also gunning for the crown are \u003ca href=\"https://www.instagram.com/vicky.cristinabarcelona/\">Vicky Cristina Barcelona\u003c/a>, whose high-femme fashions often rep Puerto Rican pride; \u003ca href=\"https://www.instagram.com/itsmaryvice/\">Mary Vice\u003c/a>, a queen-about-town who hosts Pillows at Powerhouse and The Hot Boxxx Girls at Aunt Charlie’s; \u003ca href=\"https://www.instagram.com/elmasjota/\">Jota Mercury\u003c/a>, an award-winning drag king who “puts the cheese in machismo”; \u003ca href=\"https://www.instagram.com/themojocarter/\">Mojo Carter\u003c/a>, a rising star with a face to kill; and \u003ca href=\"https://www.instagram.com/delilahbefierce20/\">Delilah Befierce\u003c/a>, who goes all the way with her cosplayish ensembles (see: her recent glamorous take on the Grinch).[aside postid='arts_13970321']\u003c/p>\n\u003cp>“We want to highlight all the different kinds of drag that you can see, and all different kinds of gender expression and mini scenes,” says Soto. “There’s many different ways of expressing the art form. So we make sure that our cast represents the whole amalgam.”\u003c/p>\n\u003cp>After delivering their best “creative presentation” runway looks and charming the audience during a Q&A portion, contestants will face off in a lip-sync battle on Jan. 18. The competition will continue with a high-stakes talent showcase on Jan. 25 where performers will pull out all the stops for the finale.\u003c/p>\n\u003cp>“They are allowed to tell their story, however they want to tell it, in their biggest and grandest and most impactful way,” Soto explains. “And that is the category with the most points.”\u003c/p>\n\u003cfigure id=\"attachment_13970359\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970359\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-scaled.jpg\" alt=\"Four drag artists pose in dramatic pink outfits. \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Princess producer Tito Soto (center, seated) with High Princx Pageant hosts Kochina Rude, Nicki Jizz and Lisa Frankenstein (left to right). \u003ccite>(Chantel Beam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The star-studded judges’ panel includes acclaimed drag queen and environmentalist Pattie Gonia; Rock M Sakura, who repped San Francisco on \u003cem>RuPaul’s Drag Race\u003c/em> season 12; Oasis owner and San Francisco’s first Drag Laureate, \u003ca href=\"https://www.kqed.org/arts/13930404/drag-laureate-darcy-drollinger-pride-san-francisco-oasis-nightclub\">D’Arcy Drollinger\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13919897/san-francisco-arts-commission-juanita-more-30-years\">Juanita MORE!\u003c/a>, a local legend whose activist endeavors are only outnumbered by her many couture looks; Soto himself and more.\u003c/p>\n\u003cp>As far as what the judges are looking for? “I want my jaw on the floor,” says Nicki Jizz, who will host the first weekend and judge the second. “I want to see numbers that are moving, sad, funny, ridiculous — sometimes I want all of it at once.” [aside postid='arts_13970297']\u003c/p>\n\u003cp>In addition to big hair, acrobatic choreography and surprise reveals, it’s likely that some performances will include social and political commentary — especially as the incoming presidential administration threatens to strip away trans rights. Over the past four years, Princess has become an avenue for activism on and off the stage. Each week, party co-host Kochina Rude gives a short talk about Narcan and safe partying, which inspired the city to create a \u003ca href=\"https://www.kqed.org/arts/13961839/drag-queens-overdose-prevention-narcan-san-francisco\">drag-powered overdose prevention campaign\u003c/a> led by Rude and Nicki Jizz.\u003c/p>\n\u003cp>“I think drag in the Bay Area is always pushing boundaries,” reflects Jizz on the art form’s growing influence. “It’s always evolving. It’s strong, it’s powerful and it can never be stopped.”\u003c/p>\n\u003cp>It’s that sort of scene — with equal parts glamor and heart — that Soto wants the High Princx Pageant to nurture.\u003c/p>\n\u003cp>“When so many people that care so much about the community work together in their own ways to uplift each other,” he says, “then you see the magic happen.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The High Princx Pageant gets underway at Oasis Jan. 18 and 25. \u003ca href=\"https://www.eventbrite.com/e/the-high-princx-pageant-2025-w-pattie-gonia-118-tickets-1070807848099\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "San Francisco’s High Princx Pageant Promises a Drag Competition for the Ages | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year at the High Princx Pageant, \u003ca href=\"https://www.instagram.com/hello.sassi.fran/\">Sassi Fran\u003c/a> knew she’d be competing against some of the Bay Area’s best drag performers — and getting judged by them, too. So she and her friends spent hours hand-making dozens of delicate tulle flowers that would make up the robe she’d wear on stage. She was preparing for a moment that would make everyone gasp: On the runway, she dropped her robe and revealed a luminescent mushroom outfit that changed color under the blacklight.\u003c/p>\n\u003cp>Sassi got a top score that night; the following week, with a high-drama number that incorporated Filipino folk dance, she clinched the victory. Looking back as she gets ready to relinquish her crown when the \u003ca href=\"https://www.eventbrite.com/e/the-high-princx-pageant-2025-w-pattie-gonia-118-tickets-1070805300479\">pageant returns this weekend\u003c/a>, she says the two-weekend competition gave her the motivation she needed to take her drag to new creative and technical heights.\u003c/p>\n\u003cp>“I created something that really pushed myself further than I have before,” she reflects. Indeed, her victory led to high-profile gigs, including opening for \u003cem>RuPaul’s Drag Race\u003c/em> royalty Crystal Methyd and Alaska at major venues like San Francisco’s Palace of Fine Arts and Bimbo’s 365 Club.\u003c/p>\n\u003cfigure id=\"attachment_13970361\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970361\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"2129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-800x665.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-1020x848.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-160x133.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-768x639.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-1536x1277.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-2048x1703.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-1920x1597.jpeg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sassi Fran, the winner of the 2024 High Princx Pageant, struts the runway in her mushroom look. \u003ccite>(Rachel Ziegler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Providing a stage for drag performers to elevate their craft is exactly what the pageant’s founder, \u003ca href=\"https://www.instagram.com/tito.so.to/?hl=en\">Tito Soto\u003c/a>, envisioned when he devised it as an offshoot of his popular Saturday night party at Oasis, \u003ca href=\"https://www.sfoasis.com/princess?gad_source=1&gclid=Cj0KCQiA1p28BhCBARIsADP9HrNS-G81gNbA5oC2zO8Q8i-jhzM8v4OklhyNun8HFK_NFZuiYAHAU-IaAkZEEALw_wcB\">Princess\u003c/a>. Since the pandemic, Princess has become San Francisco’s go-to destination for nationally touring drag performers and high-caliber local artists.\u003c/p>\n\u003cp>Whether a performer wants to levitate above the crowd using a scissor lift, pop confetti on cue with a beat drop or envelop the stage in plumes of fog, Oasis has the technical setup for the “wow” moments fans crave. “It wasn’t until I started doing drag in San Francisco and found Oasis that I realized, this is where I need to be, this is where I can flourish,” says Soto, who had a past life as a theme-park designer in Los Angeles. “This venue gives me the capabilities to use all the tech I need in order to execute the vision that I want to put on a big drag spectacular.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Jan. 18, Princess party-goers will meet this year’s eight High Princx contestants, who include \u003ca href=\"https://www.instagram.com/jeteguevaraog/\">Jeté Guevara\u003c/a>, a veteran performer of 30 years with a rockstar energy; \u003ca href=\"https://www.instagram.com/sadiecreekwoodsparkles/\">Sadie Creekwood\u003c/a>, who pushes the limits of campy horror; and \u003ca href=\"https://www.instagram.com/pangaeas_planet/\">Pangaea\u003c/a>, a performance artist who delivers surrealist looks with a side of activism. Also gunning for the crown are \u003ca href=\"https://www.instagram.com/vicky.cristinabarcelona/\">Vicky Cristina Barcelona\u003c/a>, whose high-femme fashions often rep Puerto Rican pride; \u003ca href=\"https://www.instagram.com/itsmaryvice/\">Mary Vice\u003c/a>, a queen-about-town who hosts Pillows at Powerhouse and The Hot Boxxx Girls at Aunt Charlie’s; \u003ca href=\"https://www.instagram.com/elmasjota/\">Jota Mercury\u003c/a>, an award-winning drag king who “puts the cheese in machismo”; \u003ca href=\"https://www.instagram.com/themojocarter/\">Mojo Carter\u003c/a>, a rising star with a face to kill; and \u003ca href=\"https://www.instagram.com/delilahbefierce20/\">Delilah Befierce\u003c/a>, who goes all the way with her cosplayish ensembles (see: her recent glamorous take on the Grinch).\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We want to highlight all the different kinds of drag that you can see, and all different kinds of gender expression and mini scenes,” says Soto. “There’s many different ways of expressing the art form. So we make sure that our cast represents the whole amalgam.”\u003c/p>\n\u003cp>After delivering their best “creative presentation” runway looks and charming the audience during a Q&A portion, contestants will face off in a lip-sync battle on Jan. 18. The competition will continue with a high-stakes talent showcase on Jan. 25 where performers will pull out all the stops for the finale.\u003c/p>\n\u003cp>“They are allowed to tell their story, however they want to tell it, in their biggest and grandest and most impactful way,” Soto explains. “And that is the category with the most points.”\u003c/p>\n\u003cfigure id=\"attachment_13970359\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970359\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-scaled.jpg\" alt=\"Four drag artists pose in dramatic pink outfits. \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Princess producer Tito Soto (center, seated) with High Princx Pageant hosts Kochina Rude, Nicki Jizz and Lisa Frankenstein (left to right). \u003ccite>(Chantel Beam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The star-studded judges’ panel includes acclaimed drag queen and environmentalist Pattie Gonia; Rock M Sakura, who repped San Francisco on \u003cem>RuPaul’s Drag Race\u003c/em> season 12; Oasis owner and San Francisco’s first Drag Laureate, \u003ca href=\"https://www.kqed.org/arts/13930404/drag-laureate-darcy-drollinger-pride-san-francisco-oasis-nightclub\">D’Arcy Drollinger\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13919897/san-francisco-arts-commission-juanita-more-30-years\">Juanita MORE!\u003c/a>, a local legend whose activist endeavors are only outnumbered by her many couture looks; Soto himself and more.\u003c/p>\n\u003cp>As far as what the judges are looking for? “I want my jaw on the floor,” says Nicki Jizz, who will host the first weekend and judge the second. “I want to see numbers that are moving, sad, funny, ridiculous — sometimes I want all of it at once.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to big hair, acrobatic choreography and surprise reveals, it’s likely that some performances will include social and political commentary — especially as the incoming presidential administration threatens to strip away trans rights. Over the past four years, Princess has become an avenue for activism on and off the stage. Each week, party co-host Kochina Rude gives a short talk about Narcan and safe partying, which inspired the city to create a \u003ca href=\"https://www.kqed.org/arts/13961839/drag-queens-overdose-prevention-narcan-san-francisco\">drag-powered overdose prevention campaign\u003c/a> led by Rude and Nicki Jizz.\u003c/p>\n\u003cp>“I think drag in the Bay Area is always pushing boundaries,” reflects Jizz on the art form’s growing influence. “It’s always evolving. It’s strong, it’s powerful and it can never be stopped.”\u003c/p>\n\u003cp>It’s that sort of scene — with equal parts glamor and heart — that Soto wants the High Princx Pageant to nurture.\u003c/p>\n\u003cp>“When so many people that care so much about the community work together in their own ways to uplift each other,” he says, “then you see the magic happen.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The High Princx Pageant gets underway at Oasis Jan. 18 and 25. \u003ca href=\"https://www.eventbrite.com/e/the-high-princx-pageant-2025-w-pattie-gonia-118-tickets-1070807848099\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "new-year-new-law-know-more-about-your-rights-as-a-trans-student-in-california-schools",
"title": "Know Your Rights in 2025 as a Trans Student in California Schools",
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"headTitle": "Know Your Rights in 2025 as a Trans Student in California Schools | KQED",
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"content": "\u003cp>\u003cstrong>Update, 1:20 p.m. February 4:\u003c/strong> Since his Jan. 20 inauguration, President Donald Trump has signed several executive orders that target the rights of transgender youth. Among them include \u003ca href=\"https://www.pbs.org/newshour/politics/6-ways-trumps-executive-orders-are-targeting-transgender-people\">halting the use of federal money to fund gender-affirming services for trans people\u003c/a> under 19 years old, and withholding federal funds from schools that assist students in \u003ca href=\"https://library.nshealth.ca/TransGenderDiverse/SocialTransition\">socially transitioning\u003c/a>.\u003c/p>\n\u003cp>In a Jan. 31 press conference, California State Senator Scott Wiener announced \u003ca href=\"https://www.kqed.org/news/12025068/sf-leaders-vow-to-protect-transgender-students-after-latest-trump-threat-to-withhold-funding\">San Francisco’s intention to expand on state protections for transgender residents\u003c/a> in response to Trump’s executive orders.\u003c/p>\n\u003cp>“In 2022, I authored \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=202120220SB107\">Senate Bill 107\u003c/a> to basically create a sanctuary state or a shield for trans folks and their families and their medical providers who are being criminalized,” said Wiener. “We are actively looking at how to strengthen and expand that law to protect folks.”\u003c/p>\n\u003cp>“The federal government is very powerful, but we’re going to do whatever we can,” he said. “But California has a lot of power, too.”\u003c/p>\n\u003cp>\u003cem>Original story continues:\u003c/em>\u003c/p>\n\u003cp>Until now, \u003ca href=\"https://calmatters.org/education/k-12-education/2023/08/culture-wars/\">some California school boards\u003c/a> have \u003ca href=\"https://calmatters.org/education/k-12-education/2023/08/culture-wars/\">enacted policies\u003c/a> that required teachers to notify families if a child identifies as transgender, nonbinary, or if the student wishes to go by another name in class.\u003c/p>\n\u003cp>However, as of Jan. 1, a new state law bans schools from enacting these policies — meaning that teachers can no longer be required to inform families that their student identifies as a gender or pronoun other than what’s on their school records. This law, however, does not apply to private schools.\u003c/p>\n\u003cp>LGBTQ+ advocates stress that schools are crucial environments for young people to have\u003ca href=\"https://www.aclu.org/news/lgbtq-rights/trans-students-should-be-treated-with-dignity-not-outed-by-their-schools\"> the freedom to explore their identity\u003c/a> — and describe the rules that alert parents about gender or name changes as “\u003ca href=\"https://lgbtqcaucus.legislature.ca.gov/sites/lgbtqcaucus.legislature.ca.gov/files/AB%201955%20SAFETY%20Act%20FAQs%20UPDATED%20%28002%29%20__0.pdf\">forced outing policies\u003c/a>.” The state’s \u003ca href=\"https://lgbtqcaucus.legislature.ca.gov/sites/lgbtqcaucus.legislature.ca.gov/files/AB%201955%20SAFETY%20Act%20FAQs%20UPDATED%20%28002%29%20__0.pdf\">LGBTQ+ caucus\u003c/a> argues that \u003ca href=\"https://www.aclusocal.org/en/know-your-rights/lgbtq-student-rights-k-12-california-public-schools\">the policies are\u003c/a> “enacted without regard for whether doing so would likely threaten and/or harm the safety of the child,” especially when students live in a home that is unaccepting of their identity.\u003c/p>\n\u003cp>With this new law, “the state of California is trying to ensure [students’] safety,” said Gael Isaiah Lala-Chávez, the executive director of San Francisco LGBTQQ+ organization\u003ca href=\"https://lyric.org/\"> LYRIC\u003c/a>. ‘’They’re giving them their control to be able to share at their own leisure — when they are ready with their families and their loved ones — and not feel like they are at risk of being outed.”\u003c/p>\n\u003cp>If you are a trans or questioning young person who wants to know more about your new rights and privacy as a student in California, read on to see what advocates like Lala-Chávez say about the bill — and what resources are available to you.\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"#A\">What does the bill do?\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"#B\">Why is this law coming into effect?\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"#C\">What if I think my rights are being violated?\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"#D\">What should I do if I still feel unsafe? Where can I find support?\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>\u003ca id=\"A\">\u003c/a>What does the bill do?\u003c/h2>\n\u003cp>According to the \u003ca href=\"https://www.aclusocal.org/en/know-your-rights/lgbtq-student-rights-k-12-california-public-schools\">American Civil Liberties Union of Southern California\u003c/a>, the California Education Code gives K–12 public school students the right to be out — that is, “open about your identity and to be yourself at school” — and to be referred to by their preferred pronouns.\u003c/p>\n\u003cp>The new law, \u003ca href=\"https://casetext.com/statute/california-codes/california-education-code/title-1-general-education-code-provisions/division-1-general-education-code-provisions/part-1-general-provisions/chapter-2-educational-equity/article-3-prohibition-of-discrimination/section-2203-effective-112025-employees-shall-not-disclose-pupils-sexual-orientation-gender-identity-or-gender-expression#:~:text=2024%20Legislative%20Session-,Section%20220.3%20%2D%20%5BEffective%201%2F1%2F2025%5D%20Employees,be%20required%20to%20disclose%20any\">Assembly Bill 1955,\u003c/a> takes an extra step, prohibiting\u003ca href=\"https://www.cde.ca.gov/nr/ne/yr24/yr24rel37.asp\"> K–12 school officials\u003c/a> from putting a rule in place that would “require an employee or a contractor to disclose any information related to a pupil’s sexual orientation, gender identity, or gender expression to any other person” without the student’s consent.\u003c/p>\n\u003cp>“Teachers can still talk to their parents,” Gov. Gavin Newsom said at \u003ca href=\"https://calmatters.org/education/higher-education/2024/12/job-training/\">a December press conference\u003c/a>. “What [a school] can’t do is fire a teacher for not being a snitch. I don’t think teachers should be gender police.”\u003c/p>\n\u003cp>The law bans \u003ca href=\"https://digitaldemocracy.calmatters.org/bills/ca_202320240ab1955\">any of the following educational bodies\u003c/a> in California from making or enacting these policies:\u003c/p>\n\u003cul>\n\u003cli>School districts.\u003c/li>\n\u003cli>County offices of education.\u003c/li>\n\u003cli>Charter schools.\u003c/li>\n\u003cli>State special schools.\u003c/li>\n\u003cli>Members of the governing board or body of those educational entities.\u003c/li>\n\u003c/ul>\n\u003cp>This means that this bill does not apply to private schools.\u003c/p>\n\u003cp>The law provides a layer of protection that organizers like Lala-Chávez say trans students need, especially \u003ca href=\"https://19thnews.org/2024/08/project-2025-anti-trans-policies-impact-families/\">in the face of the incoming administration\u003c/a>. President-elect Donald Trump has already promised to remove Medicare and Medicaid funding from hospitals that provide gender transition treatment to minors, and Project 2025 — \u003ca href=\"https://www.kqed.org/news/11998288/what-is-project-2025-donald-trump-heritage-foundation-director-steps-down\">the detailed policy agenda for the next Republican presidency authored and supported by Trump allies\u003c/a>, former and current Trump staffers and Vice President-elect JD Vance — proposes \u003ca href=\"https://www.axios.com/2024/11/07/project-2025-lgbtq-rights\">rolling back regulations that ban discrimination based on gender identity, sexual orientation and trans status\u003c/a>.\u003c/p>\n\u003cp>Since the results of the elections, Gov. Gavin Newsom and state Attorney General Rob Bonta have\u003ca href=\"https://www.kqed.org/news/12013395/newsom-calls-special-session-prepare-california-legal-fight-against-trump\"> positioned themselves as legal opponents\u003c/a> to Donald Trump’s incoming presidency, to “\u003ca href=\"https://www.kqed.org/news/12013395/newsom-calls-special-session-prepare-california-legal-fight-against-trump\">protect California values\u003c/a>.” “Right now, I’d say we are to some degree grateful that we are in California,” said Lala-Chávez. “I’m hoping that withholds a lot of the challenges that we’re going to be facing in the next couple of years.”\u003c/p>\n\u003cp>The ACLU SoCal has \u003ca href=\"https://www.aclusocal.org/en/know-your-rights/lgbtq-student-rights-k-12-california-public-schools\">a thorough guide about your rights as a public school student\u003c/a>, including if you have the right to start an LGBTQ+ advocacy group in school or how you can officially change your pronouns in class.\u003c/p>\n\u003ch2>\u003ca id=\"B\">\u003c/a>Why is this law coming into effect?\u003c/h2>\n\u003cp>Gov. Gavin Newsom signed Assembly Bill 1955 at a time when \u003ca href=\"https://translegislation.com/\">anti-trans legislation\u003c/a> continues to rise around the United States. Despite \u003ca href=\"https://www.aclu.org/legislative-attacks-on-lgbtq-rights-2024\">its reputation as being friendlier to LGBTQ+ communities\u003c/a> than other states, California has not been immune to such measures, with cities like \u003ca href=\"https://oag.ca.gov/system/files/attachments/press-docs/082723.Complaint.pdf\">Chino enacting name-change policies\u003c/a> or \u003ca href=\"https://www.kqed.org/news/12016463/how-anti-trans-politics-loomed-over-san-jose-states-volleyball-season\">a pending lawsuit at San José State University\u003c/a> over trans women participating in sports.\u003c/p>\n\u003cp>A 2024 study by the Trevor Project found that in following years, where some states passed anti-trans laws aimed at minors, \u003ca href=\"https://www.kqed.org/news/12006633/more-trans-teens-attempted-suicide-after-states-passed-anti-trans-laws-study-shows\">suicides increased as much as 72%\u003c/a> among transgender and gender nonconforming teenagers.\u003c/p>\n\u003ch2>\u003ca id=\"C\">\u003c/a>What if I think my rights are being violated?\u003c/h2>\n\u003cp>In addition to prohibiting schools from requiring teachers to notify parents of their child’s gender identity or name preferences, the bill will also require schools to develop and update school resources for LGBTQ+ students — such as ways to contact national and local queer organizations, trained counselors or social workers.\u003c/p>\n\u003cp>However, if a student still thinks that their rights are potentially being violated — for example, if they feel they are at risk of being outed against their will — Lala-Chávez said students should notify school leadership. They also suggested that advocacy organizations like\u003ca href=\"https://www.eqca.org/\"> Equality California\u003c/a> may be able to help in such situations, if a student reaches out directly.\u003c/p>\n\u003cp>Young people also “definitely have every right and opportunity” to contact their elected officials, Lala-Chávez added. KQED has\u003ca href=\"https://www.kqed.org/news/11967439/how-can-i-call-my-representative-a-step-by-step-guide-to-the-process\"> a step-by-step guide\u003c/a> on how to contact your representative.\u003c/p>\n\u003cp>Students can also submit concerns and complaints to the\u003ca href=\"https://www.cde.ca.gov/re/cp/\"> California State Education Department\u003c/a> — which\u003ca href=\"https://www.cde.ca.gov/re/cp/uc/\"> can be anonymous\u003c/a>.\u003c/p>\n\u003ch2>\u003ca id=\"D\">\u003c/a>What should I do if I still feel unsafe? Where can I find support?\u003c/h2>\n\u003cp>The bill bans schools from forcing teachers to notify parents if their child identifies as transgender. But teachers — who sometimes \u003ca href=\"https://lgbtqcaucus.legislature.ca.gov/sites/lgbtqcaucus.legislature.ca.gov/files/AB%201955%20SAFETY%20Act%20FAQs%20UPDATED%20%28002%29%20__0.pdf\">can be safe confidants\u003c/a> for LGBTQ+ students if their relatives are not — can still provide support and resources to trans students. Lala-Chávez said it was important for students to have strong relationships with adults and educators that they feel comfortable with, especially if the students feel like they are at risk at home. Such adults could include a counselor or a trusted teacher.\u003c/p>\n\u003cp>KQED also has\u003ca href=\"https://www.kqed.org/news/12014337/what-can-trans-folks-do-to-prepare-for-another-trump-administration\"> a guide for trans people\u003c/a> on how to prepare for the upcoming administration, which includes resources, organizations and hotlines they can reach out to. When reaching out to one of these organizations by phone or online, make sure you are in a private part of your house — or someone outside, where you are physically safe.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.sfcenter.org/program/resources/\">SF LGBT Center\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.posimages.org/support\">Positive Images Santa Rosa\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.sf.gov/get-transgender-community-services?_gl=1*1cgn943*_ga*MjI1MTYwNTY4LjE3MzA0MDEzMzI.*_ga_BT9NDE0NFC*MTczMTU0OTQ4OS4zLjAuMTczMTU0OTQ4OS4wLjAuMA..*_ga_63SCS846YP*MTczMTU0OTQ4OS4zLjAuMTczMTU0OTQ4OS4wLjAuMA..\">San Francisco’s Office of Transgender Initiatives\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.transgenderdistrictsf.com/\">San Francisco Transgender District\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://lyon-martin.org/\">Lyon-Martin Community Health Services\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.oaklandlgbtqcenter.org/transgender-support\">Oakland LGBTQ Center\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://transgenderlawcenter.org/resources/\">Transgender Law Center\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://lyric.org/\">Lyric Center for LGBTQQ+ Youth\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://prevention.ucsf.edu/transguide\">UCSF’s Center of Excellence for Transgender Health\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://transfamilysos.org/\">TransFamily Support Services\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.thetrevorproject.org/get-help/\">The Trevor Project\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://translifeline.org/\">Trans Lifeline\u003c/a>\u003c/li>\n\u003cli>988 Suicide and Crisis Lifeline\u003c/li>\n\u003c/ul>\n\u003cp>In some circumstances — especially when it comes to physical safety — young people may need to look up shelters and mental health clinics and be familiar with their rights in these spaces. Lala-Chávez said if you are feeling physically unsafe, some young people may consider calling \u003ca href=\"https://www.cdss.ca.gov/reporting/report-abuse/child-protective-services\">Child Protective Services\u003c/a> or the \u003ca href=\"https://www.1800runaway.org/\">National Runaway Safeline\u003c/a>.[aside label=\"Related Stories\" postID=\"news_12019618,news_12015590,news_12016463\"]Lala-Chávez also emphasized thinking and talking out your feelings, and “find[ing] your own community, whether it’s other members of your family, other neighbors or family members.”\u003c/p>\n\u003cp>They also recommended “journaling, prioritizing your emotional well-being by things that you love to do, whether it’s sports or arts or various things like that.”\u003c/p>\n\u003cp>However, Lala-Chávez affirmed that organizations and groups like theirs are “going to try and do whatever we can to protect you and to ensure that you continue to be a child and learn” — especially in times where anti-trans rhetoric and legislation is rising.\u003c/p>\n\u003cp>“It’s not going to be easy. But we’ve also been through things like this and we look at our history, we’ve also been very resilient and thoughtful as communities,” they said.\u003c/p>\n\u003cp>However, they also encouraged young people to use their voice and “your power to move the needle in whatever way you can, and seek support from other adults that are here to fight for you.”\u003c/p>\n\u003cp>\u003cem>This story contains reporting from KQED’s Juan Carlos Lara.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, 1:20 p.m. February 4:\u003c/strong> Since his Jan. 20 inauguration, President Donald Trump has signed several executive orders that target the rights of transgender youth. Among them include \u003ca href=\"https://www.pbs.org/newshour/politics/6-ways-trumps-executive-orders-are-targeting-transgender-people\">halting the use of federal money to fund gender-affirming services for trans people\u003c/a> under 19 years old, and withholding federal funds from schools that assist students in \u003ca href=\"https://library.nshealth.ca/TransGenderDiverse/SocialTransition\">socially transitioning\u003c/a>.\u003c/p>\n\u003cp>In a Jan. 31 press conference, California State Senator Scott Wiener announced \u003ca href=\"https://www.kqed.org/news/12025068/sf-leaders-vow-to-protect-transgender-students-after-latest-trump-threat-to-withhold-funding\">San Francisco’s intention to expand on state protections for transgender residents\u003c/a> in response to Trump’s executive orders.\u003c/p>\n\u003cp>“In 2022, I authored \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=202120220SB107\">Senate Bill 107\u003c/a> to basically create a sanctuary state or a shield for trans folks and their families and their medical providers who are being criminalized,” said Wiener. “We are actively looking at how to strengthen and expand that law to protect folks.”\u003c/p>\n\u003cp>“The federal government is very powerful, but we’re going to do whatever we can,” he said. “But California has a lot of power, too.”\u003c/p>\n\u003cp>\u003cem>Original story continues:\u003c/em>\u003c/p>\n\u003cp>Until now, \u003ca href=\"https://calmatters.org/education/k-12-education/2023/08/culture-wars/\">some California school boards\u003c/a> have \u003ca href=\"https://calmatters.org/education/k-12-education/2023/08/culture-wars/\">enacted policies\u003c/a> that required teachers to notify families if a child identifies as transgender, nonbinary, or if the student wishes to go by another name in class.\u003c/p>\n\u003cp>However, as of Jan. 1, a new state law bans schools from enacting these policies — meaning that teachers can no longer be required to inform families that their student identifies as a gender or pronoun other than what’s on their school records. This law, however, does not apply to private schools.\u003c/p>\n\u003cp>LGBTQ+ advocates stress that schools are crucial environments for young people to have\u003ca href=\"https://www.aclu.org/news/lgbtq-rights/trans-students-should-be-treated-with-dignity-not-outed-by-their-schools\"> the freedom to explore their identity\u003c/a> — and describe the rules that alert parents about gender or name changes as “\u003ca href=\"https://lgbtqcaucus.legislature.ca.gov/sites/lgbtqcaucus.legislature.ca.gov/files/AB%201955%20SAFETY%20Act%20FAQs%20UPDATED%20%28002%29%20__0.pdf\">forced outing policies\u003c/a>.” The state’s \u003ca href=\"https://lgbtqcaucus.legislature.ca.gov/sites/lgbtqcaucus.legislature.ca.gov/files/AB%201955%20SAFETY%20Act%20FAQs%20UPDATED%20%28002%29%20__0.pdf\">LGBTQ+ caucus\u003c/a> argues that \u003ca href=\"https://www.aclusocal.org/en/know-your-rights/lgbtq-student-rights-k-12-california-public-schools\">the policies are\u003c/a> “enacted without regard for whether doing so would likely threaten and/or harm the safety of the child,” especially when students live in a home that is unaccepting of their identity.\u003c/p>\n\u003cp>With this new law, “the state of California is trying to ensure [students’] safety,” said Gael Isaiah Lala-Chávez, the executive director of San Francisco LGBTQQ+ organization\u003ca href=\"https://lyric.org/\"> LYRIC\u003c/a>. ‘’They’re giving them their control to be able to share at their own leisure — when they are ready with their families and their loved ones — and not feel like they are at risk of being outed.”\u003c/p>\n\u003cp>If you are a trans or questioning young person who wants to know more about your new rights and privacy as a student in California, read on to see what advocates like Lala-Chávez say about the bill — and what resources are available to you.\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"#A\">What does the bill do?\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"#B\">Why is this law coming into effect?\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"#C\">What if I think my rights are being violated?\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"#D\">What should I do if I still feel unsafe? Where can I find support?\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca id=\"A\">\u003c/a>What does the bill do?\u003c/h2>\n\u003cp>According to the \u003ca href=\"https://www.aclusocal.org/en/know-your-rights/lgbtq-student-rights-k-12-california-public-schools\">American Civil Liberties Union of Southern California\u003c/a>, the California Education Code gives K–12 public school students the right to be out — that is, “open about your identity and to be yourself at school” — and to be referred to by their preferred pronouns.\u003c/p>\n\u003cp>The new law, \u003ca href=\"https://casetext.com/statute/california-codes/california-education-code/title-1-general-education-code-provisions/division-1-general-education-code-provisions/part-1-general-provisions/chapter-2-educational-equity/article-3-prohibition-of-discrimination/section-2203-effective-112025-employees-shall-not-disclose-pupils-sexual-orientation-gender-identity-or-gender-expression#:~:text=2024%20Legislative%20Session-,Section%20220.3%20%2D%20%5BEffective%201%2F1%2F2025%5D%20Employees,be%20required%20to%20disclose%20any\">Assembly Bill 1955,\u003c/a> takes an extra step, prohibiting\u003ca href=\"https://www.cde.ca.gov/nr/ne/yr24/yr24rel37.asp\"> K–12 school officials\u003c/a> from putting a rule in place that would “require an employee or a contractor to disclose any information related to a pupil’s sexual orientation, gender identity, or gender expression to any other person” without the student’s consent.\u003c/p>\n\u003cp>“Teachers can still talk to their parents,” Gov. Gavin Newsom said at \u003ca href=\"https://calmatters.org/education/higher-education/2024/12/job-training/\">a December press conference\u003c/a>. “What [a school] can’t do is fire a teacher for not being a snitch. I don’t think teachers should be gender police.”\u003c/p>\n\u003cp>The law bans \u003ca href=\"https://digitaldemocracy.calmatters.org/bills/ca_202320240ab1955\">any of the following educational bodies\u003c/a> in California from making or enacting these policies:\u003c/p>\n\u003cul>\n\u003cli>School districts.\u003c/li>\n\u003cli>County offices of education.\u003c/li>\n\u003cli>Charter schools.\u003c/li>\n\u003cli>State special schools.\u003c/li>\n\u003cli>Members of the governing board or body of those educational entities.\u003c/li>\n\u003c/ul>\n\u003cp>This means that this bill does not apply to private schools.\u003c/p>\n\u003cp>The law provides a layer of protection that organizers like Lala-Chávez say trans students need, especially \u003ca href=\"https://19thnews.org/2024/08/project-2025-anti-trans-policies-impact-families/\">in the face of the incoming administration\u003c/a>. President-elect Donald Trump has already promised to remove Medicare and Medicaid funding from hospitals that provide gender transition treatment to minors, and Project 2025 — \u003ca href=\"https://www.kqed.org/news/11998288/what-is-project-2025-donald-trump-heritage-foundation-director-steps-down\">the detailed policy agenda for the next Republican presidency authored and supported by Trump allies\u003c/a>, former and current Trump staffers and Vice President-elect JD Vance — proposes \u003ca href=\"https://www.axios.com/2024/11/07/project-2025-lgbtq-rights\">rolling back regulations that ban discrimination based on gender identity, sexual orientation and trans status\u003c/a>.\u003c/p>\n\u003cp>Since the results of the elections, Gov. Gavin Newsom and state Attorney General Rob Bonta have\u003ca href=\"https://www.kqed.org/news/12013395/newsom-calls-special-session-prepare-california-legal-fight-against-trump\"> positioned themselves as legal opponents\u003c/a> to Donald Trump’s incoming presidency, to “\u003ca href=\"https://www.kqed.org/news/12013395/newsom-calls-special-session-prepare-california-legal-fight-against-trump\">protect California values\u003c/a>.” “Right now, I’d say we are to some degree grateful that we are in California,” said Lala-Chávez. “I’m hoping that withholds a lot of the challenges that we’re going to be facing in the next couple of years.”\u003c/p>\n\u003cp>The ACLU SoCal has \u003ca href=\"https://www.aclusocal.org/en/know-your-rights/lgbtq-student-rights-k-12-california-public-schools\">a thorough guide about your rights as a public school student\u003c/a>, including if you have the right to start an LGBTQ+ advocacy group in school or how you can officially change your pronouns in class.\u003c/p>\n\u003ch2>\u003ca id=\"B\">\u003c/a>Why is this law coming into effect?\u003c/h2>\n\u003cp>Gov. Gavin Newsom signed Assembly Bill 1955 at a time when \u003ca href=\"https://translegislation.com/\">anti-trans legislation\u003c/a> continues to rise around the United States. Despite \u003ca href=\"https://www.aclu.org/legislative-attacks-on-lgbtq-rights-2024\">its reputation as being friendlier to LGBTQ+ communities\u003c/a> than other states, California has not been immune to such measures, with cities like \u003ca href=\"https://oag.ca.gov/system/files/attachments/press-docs/082723.Complaint.pdf\">Chino enacting name-change policies\u003c/a> or \u003ca href=\"https://www.kqed.org/news/12016463/how-anti-trans-politics-loomed-over-san-jose-states-volleyball-season\">a pending lawsuit at San José State University\u003c/a> over trans women participating in sports.\u003c/p>\n\u003cp>A 2024 study by the Trevor Project found that in following years, where some states passed anti-trans laws aimed at minors, \u003ca href=\"https://www.kqed.org/news/12006633/more-trans-teens-attempted-suicide-after-states-passed-anti-trans-laws-study-shows\">suicides increased as much as 72%\u003c/a> among transgender and gender nonconforming teenagers.\u003c/p>\n\u003ch2>\u003ca id=\"C\">\u003c/a>What if I think my rights are being violated?\u003c/h2>\n\u003cp>In addition to prohibiting schools from requiring teachers to notify parents of their child’s gender identity or name preferences, the bill will also require schools to develop and update school resources for LGBTQ+ students — such as ways to contact national and local queer organizations, trained counselors or social workers.\u003c/p>\n\u003cp>However, if a student still thinks that their rights are potentially being violated — for example, if they feel they are at risk of being outed against their will — Lala-Chávez said students should notify school leadership. They also suggested that advocacy organizations like\u003ca href=\"https://www.eqca.org/\"> Equality California\u003c/a> may be able to help in such situations, if a student reaches out directly.\u003c/p>\n\u003cp>Young people also “definitely have every right and opportunity” to contact their elected officials, Lala-Chávez added. KQED has\u003ca href=\"https://www.kqed.org/news/11967439/how-can-i-call-my-representative-a-step-by-step-guide-to-the-process\"> a step-by-step guide\u003c/a> on how to contact your representative.\u003c/p>\n\u003cp>Students can also submit concerns and complaints to the\u003ca href=\"https://www.cde.ca.gov/re/cp/\"> California State Education Department\u003c/a> — which\u003ca href=\"https://www.cde.ca.gov/re/cp/uc/\"> can be anonymous\u003c/a>.\u003c/p>\n\u003ch2>\u003ca id=\"D\">\u003c/a>What should I do if I still feel unsafe? Where can I find support?\u003c/h2>\n\u003cp>The bill bans schools from forcing teachers to notify parents if their child identifies as transgender. But teachers — who sometimes \u003ca href=\"https://lgbtqcaucus.legislature.ca.gov/sites/lgbtqcaucus.legislature.ca.gov/files/AB%201955%20SAFETY%20Act%20FAQs%20UPDATED%20%28002%29%20__0.pdf\">can be safe confidants\u003c/a> for LGBTQ+ students if their relatives are not — can still provide support and resources to trans students. Lala-Chávez said it was important for students to have strong relationships with adults and educators that they feel comfortable with, especially if the students feel like they are at risk at home. Such adults could include a counselor or a trusted teacher.\u003c/p>\n\u003cp>KQED also has\u003ca href=\"https://www.kqed.org/news/12014337/what-can-trans-folks-do-to-prepare-for-another-trump-administration\"> a guide for trans people\u003c/a> on how to prepare for the upcoming administration, which includes resources, organizations and hotlines they can reach out to. When reaching out to one of these organizations by phone or online, make sure you are in a private part of your house — or someone outside, where you are physically safe.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.sfcenter.org/program/resources/\">SF LGBT Center\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.posimages.org/support\">Positive Images Santa Rosa\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.sf.gov/get-transgender-community-services?_gl=1*1cgn943*_ga*MjI1MTYwNTY4LjE3MzA0MDEzMzI.*_ga_BT9NDE0NFC*MTczMTU0OTQ4OS4zLjAuMTczMTU0OTQ4OS4wLjAuMA..*_ga_63SCS846YP*MTczMTU0OTQ4OS4zLjAuMTczMTU0OTQ4OS4wLjAuMA..\">San Francisco’s Office of Transgender Initiatives\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.transgenderdistrictsf.com/\">San Francisco Transgender District\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://lyon-martin.org/\">Lyon-Martin Community Health Services\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.oaklandlgbtqcenter.org/transgender-support\">Oakland LGBTQ Center\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://transgenderlawcenter.org/resources/\">Transgender Law Center\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://lyric.org/\">Lyric Center for LGBTQQ+ Youth\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://prevention.ucsf.edu/transguide\">UCSF’s Center of Excellence for Transgender Health\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://transfamilysos.org/\">TransFamily Support Services\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.thetrevorproject.org/get-help/\">The Trevor Project\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://translifeline.org/\">Trans Lifeline\u003c/a>\u003c/li>\n\u003cli>988 Suicide and Crisis Lifeline\u003c/li>\n\u003c/ul>\n\u003cp>In some circumstances — especially when it comes to physical safety — young people may need to look up shelters and mental health clinics and be familiar with their rights in these spaces. Lala-Chávez said if you are feeling physically unsafe, some young people may consider calling \u003ca href=\"https://www.cdss.ca.gov/reporting/report-abuse/child-protective-services\">Child Protective Services\u003c/a> or the \u003ca href=\"https://www.1800runaway.org/\">National Runaway Safeline\u003c/a>.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lala-Chávez also emphasized thinking and talking out your feelings, and “find[ing] your own community, whether it’s other members of your family, other neighbors or family members.”\u003c/p>\n\u003cp>They also recommended “journaling, prioritizing your emotional well-being by things that you love to do, whether it’s sports or arts or various things like that.”\u003c/p>\n\u003cp>However, Lala-Chávez affirmed that organizations and groups like theirs are “going to try and do whatever we can to protect you and to ensure that you continue to be a child and learn” — especially in times where anti-trans rhetoric and legislation is rising.\u003c/p>\n\u003cp>“It’s not going to be easy. But we’ve also been through things like this and we look at our history, we’ve also been very resilient and thoughtful as communities,” they said.\u003c/p>\n\u003cp>However, they also encouraged young people to use their voice and “your power to move the needle in whatever way you can, and seek support from other adults that are here to fight for you.”\u003c/p>\n\u003cp>\u003cem>This story contains reporting from KQED’s Juan Carlos Lara.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Amid a flurry of recent school board policies aimed at the rights of transgender students, California passed a new law in July that prevents schools from requiring staff to notify parents if a student identifies as LGBTQ.\u003c/p>\n\u003cp>The new law, \u003ca href=\"https://digitaldemocracy.calmatters.org/bills/ca_202320240ab1955?slug=CA_202320240AB1955&_gl=1*x7e72b*_gcl_au*NzkyMjg5MTU1LjE3MzI3MzQ2Mzg.*_ga*MTg3NzMyNTU5Ny4xNzMyNzM0NjM5*_ga_5TKXNLE5NK*MTczNDk4MDc5MC44LjAuMTczNDk4MDk0NS4yMi4wLjA.*_ga_DX0K9PCWYH*MTczNDk4MDc5MC44LjAuMTczNDk4MDc5MC4wLjAuMA..*_ga_GNY4L81DZE*MTczNDk4MDc5MS44LjAuMTczNDk4MDc5MS4wLjAuMA..\">AB 1955\u003c/a>, came in response to a \u003ca href=\"https://calmatters.org/education/k-12-education/2023/08/culture-wars/\">handful of school boards\u003c/a> adopting policies that require teachers and other \u003ca href=\"https://calmatters.org/education/k-12-education/2024/07/trans-youth-california/\">school staff to notify parents\u003c/a> if a student identifies as a gender other than what’s on their school records.\u003c/p>\n\u003cp>“Teachers can still talk to their parents,” Gov. Gavin Newsom said at a press conference on Monday in which he \u003ca href=\"https://calmatters.org/education/higher-education/2024/12/job-training/\">touted a new plan to improve career opportunities for adults\u003c/a>. “What they can’t do is fire a teacher for not being a snitch. I don’t think teachers should be gender police.”\u003c/p>\n\u003cp>LGBTQ advocates said that “forced outing” policies, such as those adopted in Chino, Temecula and a dozen other districts, infringe on students’ privacy and could potentially harm students whose parents disapprove of their identity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The state sued to \u003ca href=\"https://calmatters.org/education/k-12-education/2023/08/culture-wars/\">stop Chino’s policy\u003c/a>, and most districts either scrapped their policies, tweaked the language or put them on hold.\u003c/p>\n\u003cp>This act “could not be more timely or necessary, and LGBTQ+ students across California can breathe a sigh of relief,” Tony Hoang, executive director of Equality California, which advocates for LGBTQ rights, wrote. “LGBTQ+ youth can now have these important family conversations when they are ready and in ways that strengthen the relationship between parent and child, not as a result of extremist politicians intruding into the parent-child relationship.”\u003c/p>\n\u003ch2>‘The battle continues’\u003c/h2>\n\u003cp>Opponents of the new law said that parental notification policies actually strengthen ties between students and parents, and schools should not withhold information on such important matters. Even though a parental notification measure that would have applied to all schools \u003ca href=\"https://calmatters.org/education/k-12-education/2024/07/trans-youth-california/\">failed to qualify for the ballot\u003c/a>, opponents vowed to keep fighting.\u003c/p>\n\u003cp>“This (law) doesn’t clarify anything. And nothing prevents individual teachers from bringing the issue up with parents,” said Roseville school board member Jonathan Zachreson, an organizer of the failed ballot measure and whose district was among those that passed parental notification policies. “So the battle continues.”\u003c/p>\n\u003cp>The new law also requires the state Department of Education to update its \u003ca href=\"https://www.cde.ca.gov/ci/pl/supportlgbtq.asp\">LGBTQ resources\u003c/a> and encourage school districts to offer counseling, support groups, clubs, anti-bullying policies and other measures to support LGBTQ students and their families. Schools would have to pay for those services with their existing funding.\u003c/p>\n\u003cp>LGBTQ young people are particularly vulnerable on school campuses. In a \u003ca href=\"https://www.thetrevorproject.org/survey-2024/\">recent survey\u003c/a> of 18,000 LGBTQ young people nationwide, nearly half said they had been bullied in the past year, and 10% said they had attempted suicide. Those whose schools supported LGBTQ rights were less likely to suffer from mental health challenges.\u003c/p>\n\u003cp>Even if the new law sparks a backlash in more conservative areas of the state, California was right to move forward with it, especially as some states push ahead with their own parental notification policies, said USC education professor Morgan Polikoff.\u003c/p>\n\u003cp>“Will everyone like this law? Certainly not. Will it lead to conflict? There is no doubt,” Polikoff said. “But I am hopeful this will be good for the queer kids in California’s schools and will point the way toward similar efforts in other states.”\u003c/p>\n\u003cp>\u003cem>CalMatters’ Adam Echelman contributed to this story.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amid a flurry of recent school board policies aimed at the rights of transgender students, California passed a new law in July that prevents schools from requiring staff to notify parents if a student identifies as LGBTQ.\u003c/p>\n\u003cp>The new law, \u003ca href=\"https://digitaldemocracy.calmatters.org/bills/ca_202320240ab1955?slug=CA_202320240AB1955&_gl=1*x7e72b*_gcl_au*NzkyMjg5MTU1LjE3MzI3MzQ2Mzg.*_ga*MTg3NzMyNTU5Ny4xNzMyNzM0NjM5*_ga_5TKXNLE5NK*MTczNDk4MDc5MC44LjAuMTczNDk4MDk0NS4yMi4wLjA.*_ga_DX0K9PCWYH*MTczNDk4MDc5MC44LjAuMTczNDk4MDc5MC4wLjAuMA..*_ga_GNY4L81DZE*MTczNDk4MDc5MS44LjAuMTczNDk4MDc5MS4wLjAuMA..\">AB 1955\u003c/a>, came in response to a \u003ca href=\"https://calmatters.org/education/k-12-education/2023/08/culture-wars/\">handful of school boards\u003c/a> adopting policies that require teachers and other \u003ca href=\"https://calmatters.org/education/k-12-education/2024/07/trans-youth-california/\">school staff to notify parents\u003c/a> if a student identifies as a gender other than what’s on their school records.\u003c/p>\n\u003cp>“Teachers can still talk to their parents,” Gov. Gavin Newsom said at a press conference on Monday in which he \u003ca href=\"https://calmatters.org/education/higher-education/2024/12/job-training/\">touted a new plan to improve career opportunities for adults\u003c/a>. “What they can’t do is fire a teacher for not being a snitch. I don’t think teachers should be gender police.”\u003c/p>\n\u003cp>LGBTQ advocates said that “forced outing” policies, such as those adopted in Chino, Temecula and a dozen other districts, infringe on students’ privacy and could potentially harm students whose parents disapprove of their identity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The state sued to \u003ca href=\"https://calmatters.org/education/k-12-education/2023/08/culture-wars/\">stop Chino’s policy\u003c/a>, and most districts either scrapped their policies, tweaked the language or put them on hold.\u003c/p>\n\u003cp>This act “could not be more timely or necessary, and LGBTQ+ students across California can breathe a sigh of relief,” Tony Hoang, executive director of Equality California, which advocates for LGBTQ rights, wrote. “LGBTQ+ youth can now have these important family conversations when they are ready and in ways that strengthen the relationship between parent and child, not as a result of extremist politicians intruding into the parent-child relationship.”\u003c/p>\n\u003ch2>‘The battle continues’\u003c/h2>\n\u003cp>Opponents of the new law said that parental notification policies actually strengthen ties between students and parents, and schools should not withhold information on such important matters. Even though a parental notification measure that would have applied to all schools \u003ca href=\"https://calmatters.org/education/k-12-education/2024/07/trans-youth-california/\">failed to qualify for the ballot\u003c/a>, opponents vowed to keep fighting.\u003c/p>\n\u003cp>“This (law) doesn’t clarify anything. And nothing prevents individual teachers from bringing the issue up with parents,” said Roseville school board member Jonathan Zachreson, an organizer of the failed ballot measure and whose district was among those that passed parental notification policies. “So the battle continues.”\u003c/p>\n\u003cp>The new law also requires the state Department of Education to update its \u003ca href=\"https://www.cde.ca.gov/ci/pl/supportlgbtq.asp\">LGBTQ resources\u003c/a> and encourage school districts to offer counseling, support groups, clubs, anti-bullying policies and other measures to support LGBTQ students and their families. Schools would have to pay for those services with their existing funding.\u003c/p>\n\u003cp>LGBTQ young people are particularly vulnerable on school campuses. In a \u003ca href=\"https://www.thetrevorproject.org/survey-2024/\">recent survey\u003c/a> of 18,000 LGBTQ young people nationwide, nearly half said they had been bullied in the past year, and 10% said they had attempted suicide. Those whose schools supported LGBTQ rights were less likely to suffer from mental health challenges.\u003c/p>\n\u003cp>Even if the new law sparks a backlash in more conservative areas of the state, California was right to move forward with it, especially as some states push ahead with their own parental notification policies, said USC education professor Morgan Polikoff.\u003c/p>\n\u003cp>“Will everyone like this law? Certainly not. Will it lead to conflict? There is no doubt,” Polikoff said. “But I am hopeful this will be good for the queer kids in California’s schools and will point the way toward similar efforts in other states.”\u003c/p>\n\u003cp>\u003cem>CalMatters’ Adam Echelman contributed to this story.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "photos-lgbtq-pride-lights-up-the-bay-area-in-all-its-rainbow-glory",
"title": "PHOTOS: LGBTQ+ Pride Lights Up the Bay Area In All Its Rainbow Glory",
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"headTitle": "PHOTOS: LGBTQ+ Pride Lights Up the Bay Area In All Its Rainbow Glory | KQED",
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"content": "\u003cp>This weekend, the absence of an official San Francisco Pride Parade made room for things to get a lot weirder, more political and more D.I.Y.\u003c/p>\n\u003cp>Instead of corporate-sponsored floats with rainbow advertisements, a People’s March organized by artists and activists took over the streets on Sunday, June 27, connecting the celebration back to its radical roots.\u003c/p>\n\u003cp>“Yes, this feels like my people, everyone is so beautiful,” Gia Loving, a community organizer with the Transgender Law Center, told the crowd. “[This feels like] 51 years ago when we were kicking the pigs out of the bar.”\u003c/p>\n\u003cp>She was referring to the Stonewall Riots in 1969, when New York’s gay and trans community rioted against abusive police officers who would routinely raid their safe spaces and arrest people based on gender presentation and sexuality. Loving reminded the audience that the fight isn’t over: State legislatures across the country have introduced over \u003ca href=\"https://www.pbs.org/newshour/show/pride-2021-has-set-a-record-in-anti-trans-bills-in-america\" target=\"_blank\" rel=\"noopener noreferrer\">100 bills to restrict trans rights\u003c/a> just this year alone.\u003c/p>\n\u003cp>“I want to be clear that there would be no Pride without trans youth,” she said before leading the demonstrators in a chant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other speakers focused on Pride as an antidote to the isolation and trauma Americans experienced over the last year-plus of the pandemic.\u003c/p>\n\u003cp>“Last year, there was a moment when I felt as though I was stuck. I couldn’t be on Facebook, I couldn’t be on social media, I couldn’t interact,” said renowned drag queen and activist Juanita MORE! “And then, recently, I felt as though I woke up again, and I knew that I was again creating space for me to grow. All of you being here today is so important because this is what the first Pride felt like. So I want to thank you all for being a part of the march and rally today, because your presence here today is proof that inclusiveness is happening.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That spirit of inclusiveness was deeply felt throughout the weekend as different LGBTQ+ communities reunited, fully vaccinated and ready to hug, march, dance, flirt and celebrate in person. KQED’s Beth LaBerge was there to capture it all with her camera.\u003c/p>\n\u003cfigure id=\"attachment_13899476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899476\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Black plays music from a bus during the People’s March and Rally on Polk Street heading toward City Hall in San Francisco on June 27, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/006_SanFrancisco_PeoplesMarch_06272021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_PeoplesMarch_06272021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_PeoplesMarch_06272021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_PeoplesMarch_06272021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_PeoplesMarch_06272021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_PeoplesMarch_06272021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_PeoplesMarch_06272021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The People’s March and Rally depart from Polk and Sacramento Streets to City Hall in San Francisco on June 27, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899478\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/016_SanFrancisco_PeoplesMarch_06272021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/016_SanFrancisco_PeoplesMarch_06272021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/016_SanFrancisco_PeoplesMarch_06272021-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/016_SanFrancisco_PeoplesMarch_06272021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/016_SanFrancisco_PeoplesMarch_06272021-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/016_SanFrancisco_PeoplesMarch_06272021-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/016_SanFrancisco_PeoplesMarch_06272021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hundreds of marchers head down Polk Street towards City Hall during the People’s March and Rally in San Francisco on June 27, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899511\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/030_SanFrancisco_PeoplesMarch_06272021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_PeoplesMarch_06272021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_PeoplesMarch_06272021-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_PeoplesMarch_06272021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_PeoplesMarch_06272021-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_PeoplesMarch_06272021-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_PeoplesMarch_06272021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaylah Paige Williams raises her fist during the People’s March Rally in front of City Hall in San Francisco on June 27, 2021. “This is what Pride should be about, community coming together,” she said during a speech. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899480\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/031_SanFrancisco_PeoplesMarch_06272021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/031_SanFrancisco_PeoplesMarch_06272021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/031_SanFrancisco_PeoplesMarch_06272021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/031_SanFrancisco_PeoplesMarch_06272021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/031_SanFrancisco_PeoplesMarch_06272021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/031_SanFrancisco_PeoplesMarch_06272021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/031_SanFrancisco_PeoplesMarch_06272021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juanita MORE! and Alex U. Inn speak during the People’s March and Rally in front of City Hall in San Francisco on June 27, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/028_SanFrancisco_PeoplesMarch_06272021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/028_SanFrancisco_PeoplesMarch_06272021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/028_SanFrancisco_PeoplesMarch_06272021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/028_SanFrancisco_PeoplesMarch_06272021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/028_SanFrancisco_PeoplesMarch_06272021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/028_SanFrancisco_PeoplesMarch_06272021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/028_SanFrancisco_PeoplesMarch_06272021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators arrive at City Hall during the People’s March and Rally in San Francisco on June 27, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899513\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899513\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/030_SanFrancisco_T4TElRio_06252021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_T4TElRio_06252021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_T4TElRio_06252021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_T4TElRio_06252021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_T4TElRio_06252021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_T4TElRio_06252021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_T4TElRio_06252021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The One and Only Rexy performs during T4T, the official Trans March After Party, in San Francisco on June 25, 2021. “For us at Trans March, Pride is about liberation,” she said. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899503\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899503\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/022_SanFrancisco_T4TElRio_06252021-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/022_SanFrancisco_T4TElRio_06252021-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/022_SanFrancisco_T4TElRio_06252021-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/022_SanFrancisco_T4TElRio_06252021-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/022_SanFrancisco_T4TElRio_06252021-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/022_SanFrancisco_T4TElRio_06252021-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/022_SanFrancisco_T4TElRio_06252021-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mallery Jenna Robinson, organizer of Long Beach Trans Pride, dances during T4T, the official Trans March After Party, in San Francisco on June 25, 2021. Robinson drove from Los Angeles to attend the event. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899515\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/017_SanFrancisco_T4TElRio_06252021-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/017_SanFrancisco_T4TElRio_06252021-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/017_SanFrancisco_T4TElRio_06252021-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/017_SanFrancisco_T4TElRio_06252021-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/017_SanFrancisco_T4TElRio_06252021-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/017_SanFrancisco_T4TElRio_06252021-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/017_SanFrancisco_T4TElRio_06252021-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Just Shannon, the co-founder of the event T4T, talks with Clive Maxx backstage during the Official Trans March After Party at El Rio in San Francisco on June 25, 2021. “We don’t have events that are for trans people specifically. We are very open, and we want our allies and our friends and supporters and our lovers to come, but it’s the only party that fully centers trans folks,” Just Shannon said, speaking about the event. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899510\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/024_SanFrancisco_T4TElRio_06252021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/024_SanFrancisco_T4TElRio_06252021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/024_SanFrancisco_T4TElRio_06252021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/024_SanFrancisco_T4TElRio_06252021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/024_SanFrancisco_T4TElRio_06252021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/024_SanFrancisco_T4TElRio_06252021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/024_SanFrancisco_T4TElRio_06252021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laine B and Teter hug during T4T, the Official Trans March After Party, at El Rio in San Francisco on June 25, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899518\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/030_Oakland_SkateforPride_06252021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_Oakland_SkateforPride_06252021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_Oakland_SkateforPride_06252021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_Oakland_SkateforPride_06252021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_Oakland_SkateforPride_06252021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_Oakland_SkateforPride_06252021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_Oakland_SkateforPride_06252021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Monique and Remy talk with friends during the event Skate for Pride, a part of Oakland Black Pride, at 7th West in Oakland on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899520\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899520\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/007_Oakland_SkateforPride_06262021-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/007_Oakland_SkateforPride_06262021-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/007_Oakland_SkateforPride_06262021-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/007_Oakland_SkateforPride_06262021-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/007_Oakland_SkateforPride_06262021-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/007_Oakland_SkateforPride_06262021-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/007_Oakland_SkateforPride_06262021-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Ninasol plays music during Skate for Pride, an Oakland Black Pride event, at 7th West on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899487\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899487\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/012_Oakland_SkateforPride_06262021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_Oakland_SkateforPride_06262021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_Oakland_SkateforPride_06262021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_Oakland_SkateforPride_06262021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_Oakland_SkateforPride_06262021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_Oakland_SkateforPride_06262021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_Oakland_SkateforPride_06262021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Cox, Advocacy Director for Oakland Black Pride, poses for a portrait with her rollerskates during a Skate for Pride party at 7th West in Oakland on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899509\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/008_Oakland_SkateforPride_06262021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/008_Oakland_SkateforPride_06262021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/008_Oakland_SkateforPride_06262021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/008_Oakland_SkateforPride_06262021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/008_Oakland_SkateforPride_06262021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/008_Oakland_SkateforPride_06262021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/008_Oakland_SkateforPride_06262021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">André greets attendees as they arrive for Skate for Pride at 7th West in Oakland on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899507\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/001_SanFrancisco_Oasis_06272021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/001_SanFrancisco_Oasis_06272021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/001_SanFrancisco_Oasis_06272021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/001_SanFrancisco_Oasis_06272021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/001_SanFrancisco_Oasis_06272021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/001_SanFrancisco_Oasis_06272021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/001_SanFrancisco_Oasis_06272021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People dance during the drag show intermission during Princess at Oasis in San Francisco on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899489\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Militia Scunt sits on a throne during Princess, a disco dance party and drag show, at Oasis in San Francisco on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/018_SanFrancisco_OasisReopening_06262021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/018_SanFrancisco_OasisReopening_06262021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/018_SanFrancisco_OasisReopening_06262021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/018_SanFrancisco_OasisReopening_06262021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/018_SanFrancisco_OasisReopening_06262021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/018_SanFrancisco_OasisReopening_06262021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/018_SanFrancisco_OasisReopening_06262021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jota Mercury performs during Princess, a disco dance party and drag show, at Oasis in San Francisco on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899491\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger, owner of Oasis nightclub, performs during Princess, a disco dance party and drag show, at Oasis in San Francisco on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "The absence of the official San Francisco Pride Parade made room for things to get weirder, more political and more D.I.Y.",
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"title": "PHOTOS: LGBTQ+ Pride Lights Up the Bay Area In All Its Rainbow Glory | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend, the absence of an official San Francisco Pride Parade made room for things to get a lot weirder, more political and more D.I.Y.\u003c/p>\n\u003cp>Instead of corporate-sponsored floats with rainbow advertisements, a People’s March organized by artists and activists took over the streets on Sunday, June 27, connecting the celebration back to its radical roots.\u003c/p>\n\u003cp>“Yes, this feels like my people, everyone is so beautiful,” Gia Loving, a community organizer with the Transgender Law Center, told the crowd. “[This feels like] 51 years ago when we were kicking the pigs out of the bar.”\u003c/p>\n\u003cp>She was referring to the Stonewall Riots in 1969, when New York’s gay and trans community rioted against abusive police officers who would routinely raid their safe spaces and arrest people based on gender presentation and sexuality. Loving reminded the audience that the fight isn’t over: State legislatures across the country have introduced over \u003ca href=\"https://www.pbs.org/newshour/show/pride-2021-has-set-a-record-in-anti-trans-bills-in-america\" target=\"_blank\" rel=\"noopener noreferrer\">100 bills to restrict trans rights\u003c/a> just this year alone.\u003c/p>\n\u003cp>“I want to be clear that there would be no Pride without trans youth,” she said before leading the demonstrators in a chant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other speakers focused on Pride as an antidote to the isolation and trauma Americans experienced over the last year-plus of the pandemic.\u003c/p>\n\u003cp>“Last year, there was a moment when I felt as though I was stuck. I couldn’t be on Facebook, I couldn’t be on social media, I couldn’t interact,” said renowned drag queen and activist Juanita MORE! “And then, recently, I felt as though I woke up again, and I knew that I was again creating space for me to grow. All of you being here today is so important because this is what the first Pride felt like. So I want to thank you all for being a part of the march and rally today, because your presence here today is proof that inclusiveness is happening.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That spirit of inclusiveness was deeply felt throughout the weekend as different LGBTQ+ communities reunited, fully vaccinated and ready to hug, march, dance, flirt and celebrate in person. KQED’s Beth LaBerge was there to capture it all with her camera.\u003c/p>\n\u003cfigure id=\"attachment_13899476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899476\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_SanFrancisco_PeoplesMarch_06272021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Black plays music from a bus during the People’s March and Rally on Polk Street heading toward City Hall in San Francisco on June 27, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/006_SanFrancisco_PeoplesMarch_06272021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_PeoplesMarch_06272021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_PeoplesMarch_06272021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_PeoplesMarch_06272021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_PeoplesMarch_06272021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_PeoplesMarch_06272021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_PeoplesMarch_06272021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The People’s March and Rally depart from Polk and Sacramento Streets to City Hall in San Francisco on June 27, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899478\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/016_SanFrancisco_PeoplesMarch_06272021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/016_SanFrancisco_PeoplesMarch_06272021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/016_SanFrancisco_PeoplesMarch_06272021-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/016_SanFrancisco_PeoplesMarch_06272021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/016_SanFrancisco_PeoplesMarch_06272021-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/016_SanFrancisco_PeoplesMarch_06272021-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/016_SanFrancisco_PeoplesMarch_06272021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hundreds of marchers head down Polk Street towards City Hall during the People’s March and Rally in San Francisco on June 27, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899511\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/030_SanFrancisco_PeoplesMarch_06272021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_PeoplesMarch_06272021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_PeoplesMarch_06272021-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_PeoplesMarch_06272021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_PeoplesMarch_06272021-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_PeoplesMarch_06272021-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_PeoplesMarch_06272021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaylah Paige Williams raises her fist during the People’s March Rally in front of City Hall in San Francisco on June 27, 2021. “This is what Pride should be about, community coming together,” she said during a speech. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899480\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/031_SanFrancisco_PeoplesMarch_06272021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/031_SanFrancisco_PeoplesMarch_06272021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/031_SanFrancisco_PeoplesMarch_06272021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/031_SanFrancisco_PeoplesMarch_06272021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/031_SanFrancisco_PeoplesMarch_06272021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/031_SanFrancisco_PeoplesMarch_06272021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/031_SanFrancisco_PeoplesMarch_06272021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juanita MORE! and Alex U. Inn speak during the People’s March and Rally in front of City Hall in San Francisco on June 27, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/028_SanFrancisco_PeoplesMarch_06272021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/028_SanFrancisco_PeoplesMarch_06272021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/028_SanFrancisco_PeoplesMarch_06272021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/028_SanFrancisco_PeoplesMarch_06272021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/028_SanFrancisco_PeoplesMarch_06272021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/028_SanFrancisco_PeoplesMarch_06272021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/028_SanFrancisco_PeoplesMarch_06272021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators arrive at City Hall during the People’s March and Rally in San Francisco on June 27, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899513\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899513\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/030_SanFrancisco_T4TElRio_06252021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_T4TElRio_06252021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_T4TElRio_06252021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_T4TElRio_06252021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_T4TElRio_06252021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_T4TElRio_06252021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_SanFrancisco_T4TElRio_06252021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The One and Only Rexy performs during T4T, the official Trans March After Party, in San Francisco on June 25, 2021. “For us at Trans March, Pride is about liberation,” she said. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899503\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899503\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/022_SanFrancisco_T4TElRio_06252021-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/022_SanFrancisco_T4TElRio_06252021-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/022_SanFrancisco_T4TElRio_06252021-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/022_SanFrancisco_T4TElRio_06252021-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/022_SanFrancisco_T4TElRio_06252021-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/022_SanFrancisco_T4TElRio_06252021-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/022_SanFrancisco_T4TElRio_06252021-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mallery Jenna Robinson, organizer of Long Beach Trans Pride, dances during T4T, the official Trans March After Party, in San Francisco on June 25, 2021. Robinson drove from Los Angeles to attend the event. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899515\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/017_SanFrancisco_T4TElRio_06252021-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/017_SanFrancisco_T4TElRio_06252021-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/017_SanFrancisco_T4TElRio_06252021-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/017_SanFrancisco_T4TElRio_06252021-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/017_SanFrancisco_T4TElRio_06252021-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/017_SanFrancisco_T4TElRio_06252021-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/017_SanFrancisco_T4TElRio_06252021-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Just Shannon, the co-founder of the event T4T, talks with Clive Maxx backstage during the Official Trans March After Party at El Rio in San Francisco on June 25, 2021. “We don’t have events that are for trans people specifically. We are very open, and we want our allies and our friends and supporters and our lovers to come, but it’s the only party that fully centers trans folks,” Just Shannon said, speaking about the event. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899510\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/024_SanFrancisco_T4TElRio_06252021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/024_SanFrancisco_T4TElRio_06252021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/024_SanFrancisco_T4TElRio_06252021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/024_SanFrancisco_T4TElRio_06252021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/024_SanFrancisco_T4TElRio_06252021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/024_SanFrancisco_T4TElRio_06252021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/024_SanFrancisco_T4TElRio_06252021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laine B and Teter hug during T4T, the Official Trans March After Party, at El Rio in San Francisco on June 25, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899518\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/030_Oakland_SkateforPride_06252021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_Oakland_SkateforPride_06252021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_Oakland_SkateforPride_06252021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_Oakland_SkateforPride_06252021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_Oakland_SkateforPride_06252021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_Oakland_SkateforPride_06252021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/030_Oakland_SkateforPride_06252021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Monique and Remy talk with friends during the event Skate for Pride, a part of Oakland Black Pride, at 7th West in Oakland on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899520\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899520\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/007_Oakland_SkateforPride_06262021-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/007_Oakland_SkateforPride_06262021-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/007_Oakland_SkateforPride_06262021-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/007_Oakland_SkateforPride_06262021-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/007_Oakland_SkateforPride_06262021-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/007_Oakland_SkateforPride_06262021-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/007_Oakland_SkateforPride_06262021-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Ninasol plays music during Skate for Pride, an Oakland Black Pride event, at 7th West on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899487\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899487\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/012_Oakland_SkateforPride_06262021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_Oakland_SkateforPride_06262021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_Oakland_SkateforPride_06262021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_Oakland_SkateforPride_06262021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_Oakland_SkateforPride_06262021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_Oakland_SkateforPride_06262021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/012_Oakland_SkateforPride_06262021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Cox, Advocacy Director for Oakland Black Pride, poses for a portrait with her rollerskates during a Skate for Pride party at 7th West in Oakland on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899509\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/008_Oakland_SkateforPride_06262021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/008_Oakland_SkateforPride_06262021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/008_Oakland_SkateforPride_06262021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/008_Oakland_SkateforPride_06262021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/008_Oakland_SkateforPride_06262021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/008_Oakland_SkateforPride_06262021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/008_Oakland_SkateforPride_06262021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">André greets attendees as they arrive for Skate for Pride at 7th West in Oakland on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899507\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/001_SanFrancisco_Oasis_06272021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/001_SanFrancisco_Oasis_06272021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/001_SanFrancisco_Oasis_06272021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/001_SanFrancisco_Oasis_06272021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/001_SanFrancisco_Oasis_06272021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/001_SanFrancisco_Oasis_06272021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/001_SanFrancisco_Oasis_06272021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People dance during the drag show intermission during Princess at Oasis in San Francisco on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899489\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Militia Scunt sits on a throne during Princess, a disco dance party and drag show, at Oasis in San Francisco on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/018_SanFrancisco_OasisReopening_06262021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/018_SanFrancisco_OasisReopening_06262021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/018_SanFrancisco_OasisReopening_06262021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/018_SanFrancisco_OasisReopening_06262021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/018_SanFrancisco_OasisReopening_06262021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/018_SanFrancisco_OasisReopening_06262021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/018_SanFrancisco_OasisReopening_06262021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jota Mercury performs during Princess, a disco dance party and drag show, at Oasis in San Francisco on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899491\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger, owner of Oasis nightclub, performs during Princess, a disco dance party and drag show, at Oasis in San Francisco on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "friday-purple-hand-gay-liberation-1969",
"title": "Armed with Ink, 1960s Activists 'Struck Back' Against Homophobic Media",
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"headTitle": "Armed with Ink, 1960s Activists ‘Struck Back’ Against Homophobic Media | KQED",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The day that came to be known as “Friday of the Purple Hand” ended in 15 arrests, a broken rib, one set of knocked-out teeth and purple handprints scattered across the \u003ci>San Francisco Examiner\u003c/i>’s exterior walls. [aside postid='arts_13858167']\u003c/p>\n\u003cp>Four months after the infamous Stonewall riots in New York City, the Bay Area’s more radical LGBTQ+ organizations of 1969 refused to passively accept negative depictions of their community in the local news. So on Oct. 25, when the \u003ci>Examiner\u003c/i> published an article by reporter Robert Patterson under the headline “The Dreary Revels of S.F. ‘Gay’ Clubs,” the newspaper unknowingly issued a powerful call to arms—to the very people it had derided.\u003c/p>\n\u003cp>The events of that day show that the battleground for the burgeoning gay liberation movement wasn’t just on the streets or in the bars—where LGBTQ+ people demanded the right to live openly and unmolested by police—but within the pages of America’s newspapers and magazines. There, mainstream media’s dismissive adjectives, ironic scare quotes and defamatory headlines had the power to shape public opinion of an increasingly vocal and visible minority group.\u003c/p>\n\u003cp>And they definitely weren’t expecting a coalition of gay liberation groups to strike back.\u003c/p>\n\u003cfigure id=\"attachment_13859581\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859581\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ExaminerHED_1200.jpg\" alt=\"The headline of Robert Patterson's Oct. 25, 1969 article about gay breakfast clubs in the 'San Francisco Examiner.'\" width=\"1200\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ExaminerHED_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ExaminerHED_1200-160x61.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ExaminerHED_1200-800x305.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ExaminerHED_1200-768x293.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ExaminerHED_1200-1020x389.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The headline of Robert Patterson’s Oct. 25, 1969 article about gay breakfast clubs in the ‘San Francisco Examiner.’ \u003ccite>(Courtesy of the SF Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A community mobilizes\u003c/h2>\n\u003cp>By today’s standards, Patterson’s article, ostensibly about after-hours “‘gay’ breakfast clubs” (note the scare quotes around the word “gay”), reads like a hit piece.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He described the clientele of these so-called “deviate establishments” in as many grossly homophobic ways as possible, all well beyond the pale: “semi-males with flexible wrists and hips,” “the pseudo fair sex,” and “women who aren’t exactly women.” (In a testament to Patterson’s ‘credibility,’ he was fired by the \u003ci>Examiner\u003c/i> in 1972 for a series of stories he wrote about visiting China; the paper concluded he had not actually visited the country.) [aside postid='arts_13857994']\u003c/p>\n\u003cp>The community he described was outraged. “\u003cem>The San Francisco Examiner\u003c/em> has surpassed its traditional standard of tastelessness and its predictable appeal for redneck hysteria,” the newly formed gay liberation group, the Committee for Homosexual Freedom (CHF) wrote in a \u003ci>Berkeley Barb\u003c/i> response piece. “The entire gay community and all those actively working for true liberation must mobilize to confront the brutal suppression of freedom that the \u003cem>Examiner\u003c/em> consistently exemplifies and encourages.” \u003c/p>\n\u003cp>A date was set after several attempts to engage with the paper’s editor and Patterson directly: a large-scale protest would take place on Oct. 31, starting at 12pm on the sidewalk outside the \u003ci>Examiner\u003c/i>’s Fifth Street building.\u003c/p>\n\u003cp>The “melee,” as the \u003ci>Examiner\u003c/i> described it the next day, started when two unknown persons (widely thought to be newspaper employees) dropped bags of purple printer’s ink from the building rooftop onto the peaceful picketers below. “Indignation turned to anger,” one of the protesters later wrote in \u003ci>The San Francisco Free Press\u003c/i>. “Feet stepped in the ink. It appeared all around the sidewalks. One or two hands dipped into the ink and a new symbol was born.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BD0yb3bsM1k/\u003c/p>\n\u003cp>The police initially apprehended just one demonstrator, the first one to put his inky hand on the building walls, but as others protested his arrest, the “Tac Squad” (sardonically described as “close by and ever on the ready”) moved in, raising their batons and declaring the picket line an illegal assembly.\u003c/p>\n\u003cp>In the ensuing “fracas” (another great 1969 word), a dozen protesters were arrested for disorderly conduct and thrown in the paddy wagon—several on felony charges that were eventually dropped (except for one instance of allegedly biting a police officer). Other protesters took the issue to City Hall, where an additional three were arrested for trespassing, unlawful assembly and remaining at the site of a riot (essentially, staying in the building past closing time). [aside postid='arts_13859408']\u003c/p>\n\u003cp>Unsurprisingly, the SFPD’s heavy-handed response—and the ensuing cases against the arrested protesters—galvanized not just the members of more radical LGBTQ+ groups, but the old guard they initially sought to distance themselves from, creating a network of support that would propel the Bay Area’s gay liberation movement in the years to come.\u003c/p>\n\u003cp>Marc Robert Stein, professor of history at San Francisco State University and editor of \u003ci>\u003ca href=\"https://nyupress.org/9781479816859/the-stonewall-riots/\" target=\"_blank\" rel=\"noopener\">The Stonewall Riots: A Documentary History\u003c/a>\u003c/i>, thinks the timing of Patterson’s article wasn’t coincidental, and reflected the era’s homophobic attitudes to burgeoning gay organizing. “October was the month when mainstream magazines first covered Stonewall,” he says. “The movement is really growing. And it’s at that moment that there’s this incredibly hostile story.”\u003c/p>\n\u003cfigure id=\"attachment_13859586\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859586\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/BarbCOMBO_1200.jpg\" alt=\"Back-to-back issues of the 'Berkeley Barb' on March 28 and April 4, 1969, featuring Leo Laurence and Gale Whittington.\" width=\"1200\" height=\"913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BarbCOMBO_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BarbCOMBO_1200-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BarbCOMBO_1200-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BarbCOMBO_1200-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BarbCOMBO_1200-1020x776.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Back-to-back issues of the ‘Berkeley Barb’ on March 28 and April 4, 1969, featuring Leo Laurence and Gale Whittington. \u003ccite>(Courtesy of Independent Voices)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Join the gay revolution\u003c/h2>\n\u003cp>Before the events of the Purple Hand and before the creation of the CHF, the largest gay organization in San Francisco was the Society for Individual Rights (S.I.R.), a homophile society (to use the language of the time) founded in 1964.\u003c/p>\n\u003cp>As the women’s rights, anti-war and Black power movements swept the country, some younger members of the LGBTQ+ community considered S.I.R. to be too conservative. In an April 1969 editorial, Leo Laurence, editor of \u003ci>Vector\u003c/i>, S.I.R.’s monthly magazine, broke ranks with the mostly white, middle-class and nonconfrontational members of S.I.R., calling them “timid, uptight, conservative, and afraid to act for the good of the whole homosexual community.”\u003c/p>\n\u003cp>The time had come, Laurence argued, for everyone to come out to their friends, family and employers, and to be proud of their sexuality. They should be joining forces with other social causes, like the Black Panthers and local unions, and standing up for everyone’s rights. [aside postid='arts_13859162']\u003c/p>\n\u003cp>To illustrate his idea of LGBTQ+ freedom in a subsequent \u003ci>Berkeley Barb\u003c/i> interview, Laurence supplied the alt weekly with a picture of two men smiling: Laurence with his arms around his friend Gale Whittington. In no short order, S.I.R. asked Laurence to resign, and Whittington was fired from his job at the States Steamship Company.\u003c/p>\n\u003cp>The CHF, co-founded by Laurence, Whittington and a few others, was a direct reaction to this double rejection from both “straight” society and the existing gay establishment. And with this effort, they would be all about coalition-building.\u003c/p>\n\u003cfigure id=\"attachment_13859592\" class=\"wp-caption aligncenter\" style=\"max-width: 1020px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859592\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/GaysRisingUp.jpg\" alt=\"Headline from an article by Leo Laurence in the Nov. 7 issue of the 'Berkeley Tribe.'\" width=\"1020\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/GaysRisingUp.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/GaysRisingUp-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/GaysRisingUp-800x340.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/GaysRisingUp-768x326.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003cfigcaption class=\"wp-caption-text\">Headline from an article by Leo Laurence in the Nov. 7 issue of the ‘Berkeley Tribe.’ \u003ccite>(Courtesy of Independent Voices)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Purple Hand events were co-organized by at least three like-minded groups, including Gay Guerrilla Theater and the Gay Liberation Front. But despite the fracture between Laurence and S.I.R. that precipitated the creation of the CHF months earlier, the old-guard emerged as surprising supporters of the younger demonstrators as well.\u003c/p>\n\u003cp>In a Nov. 7 \u003ci>Berkeley Tribe\u003c/i> piece reflecting on the demonstration and its aftermath, Laurence writes, “I was scared and felt alone in jail, until I learned of the help mobilized ‘outside.’” The Red Mountain Tribe gathered bail money, S.I.R.’s president saved Laurence’s camera film before he was thrown in the paddy wagon, Del Martin (co-founder in 1955 of the lesbian group Daughters of Bilitis) helped CHF find lawyers, writing several sympathetic articles for \u003ci>Vector\u003c/i> in the months to come.\u003c/p>\n\u003cp>“When Gale Whittington and I founded the CHF last spring, we dreamed of a nationwide movement,” Laurence writes in the \u003ci>Tribe\u003c/i>. “It’s no longer a fantasy.”\u003c/p>\n\u003ch2>After the Purple Hand\u003c/h2>\n\u003cp>Protests against mainstream media’s depictions of the LGBTQ+ community would continue for years to come. The Purple Hand events, Stein says, are just one example of protests across the country against newspapers and magazines in ’69 and ’70, along with a second wave of protests against television stations and individual shows in ’73. [aside postid='arts_13858290']\u003c/p>\n\u003cp>\u003ca href=\"http://www.avicollimecca.com/\" rel=\"noopener\" target=\"_blank\">Tommi Avicolli Mecca\u003c/a>, who joined the Gay Liberation Front in Philadelphia when he was a 19-year-old student at Temple University, remembers those times well. “Back in the ’70s especially pretty much any time they did a feature on the community it would be very negative,” he remembers. The GLF would picket or actually enter the newspaper offices, confronting editors and writers of the specific stories.\u003c/p>\n\u003cp>Through a combination of direct action, face-to-face conversations and larger shifts in society, Mecca says, things gradually changed, fulfilling in many ways Laurence’s early 1969 call-to-arms.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I think one of the greatest things we did as a community was to come out of the closet,” Mecca says. “By being visible, we broke all the stereotypes. We forced people to engage with us, we forced our families to deal with us, we forced people to see we were just like them.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The day that came to be known as “Friday of the Purple Hand” ended in 15 arrests, a broken rib, one set of knocked-out teeth and purple handprints scattered across the \u003ci>San Francisco Examiner\u003c/i>’s exterior walls. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Four months after the infamous Stonewall riots in New York City, the Bay Area’s more radical LGBTQ+ organizations of 1969 refused to passively accept negative depictions of their community in the local news. So on Oct. 25, when the \u003ci>Examiner\u003c/i> published an article by reporter Robert Patterson under the headline “The Dreary Revels of S.F. ‘Gay’ Clubs,” the newspaper unknowingly issued a powerful call to arms—to the very people it had derided.\u003c/p>\n\u003cp>The events of that day show that the battleground for the burgeoning gay liberation movement wasn’t just on the streets or in the bars—where LGBTQ+ people demanded the right to live openly and unmolested by police—but within the pages of America’s newspapers and magazines. There, mainstream media’s dismissive adjectives, ironic scare quotes and defamatory headlines had the power to shape public opinion of an increasingly vocal and visible minority group.\u003c/p>\n\u003cp>And they definitely weren’t expecting a coalition of gay liberation groups to strike back.\u003c/p>\n\u003cfigure id=\"attachment_13859581\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859581\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ExaminerHED_1200.jpg\" alt=\"The headline of Robert Patterson's Oct. 25, 1969 article about gay breakfast clubs in the 'San Francisco Examiner.'\" width=\"1200\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ExaminerHED_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ExaminerHED_1200-160x61.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ExaminerHED_1200-800x305.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ExaminerHED_1200-768x293.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ExaminerHED_1200-1020x389.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The headline of Robert Patterson’s Oct. 25, 1969 article about gay breakfast clubs in the ‘San Francisco Examiner.’ \u003ccite>(Courtesy of the SF Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A community mobilizes\u003c/h2>\n\u003cp>By today’s standards, Patterson’s article, ostensibly about after-hours “‘gay’ breakfast clubs” (note the scare quotes around the word “gay”), reads like a hit piece.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He described the clientele of these so-called “deviate establishments” in as many grossly homophobic ways as possible, all well beyond the pale: “semi-males with flexible wrists and hips,” “the pseudo fair sex,” and “women who aren’t exactly women.” (In a testament to Patterson’s ‘credibility,’ he was fired by the \u003ci>Examiner\u003c/i> in 1972 for a series of stories he wrote about visiting China; the paper concluded he had not actually visited the country.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The community he described was outraged. “\u003cem>The San Francisco Examiner\u003c/em> has surpassed its traditional standard of tastelessness and its predictable appeal for redneck hysteria,” the newly formed gay liberation group, the Committee for Homosexual Freedom (CHF) wrote in a \u003ci>Berkeley Barb\u003c/i> response piece. “The entire gay community and all those actively working for true liberation must mobilize to confront the brutal suppression of freedom that the \u003cem>Examiner\u003c/em> consistently exemplifies and encourages.” \u003c/p>\n\u003cp>A date was set after several attempts to engage with the paper’s editor and Patterson directly: a large-scale protest would take place on Oct. 31, starting at 12pm on the sidewalk outside the \u003ci>Examiner\u003c/i>’s Fifth Street building.\u003c/p>\n\u003cp>The “melee,” as the \u003ci>Examiner\u003c/i> described it the next day, started when two unknown persons (widely thought to be newspaper employees) dropped bags of purple printer’s ink from the building rooftop onto the peaceful picketers below. “Indignation turned to anger,” one of the protesters later wrote in \u003ci>The San Francisco Free Press\u003c/i>. “Feet stepped in the ink. It appeared all around the sidewalks. One or two hands dipped into the ink and a new symbol was born.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The police initially apprehended just one demonstrator, the first one to put his inky hand on the building walls, but as others protested his arrest, the “Tac Squad” (sardonically described as “close by and ever on the ready”) moved in, raising their batons and declaring the picket line an illegal assembly.\u003c/p>\n\u003cp>In the ensuing “fracas” (another great 1969 word), a dozen protesters were arrested for disorderly conduct and thrown in the paddy wagon—several on felony charges that were eventually dropped (except for one instance of allegedly biting a police officer). Other protesters took the issue to City Hall, where an additional three were arrested for trespassing, unlawful assembly and remaining at the site of a riot (essentially, staying in the building past closing time). \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unsurprisingly, the SFPD’s heavy-handed response—and the ensuing cases against the arrested protesters—galvanized not just the members of more radical LGBTQ+ groups, but the old guard they initially sought to distance themselves from, creating a network of support that would propel the Bay Area’s gay liberation movement in the years to come.\u003c/p>\n\u003cp>Marc Robert Stein, professor of history at San Francisco State University and editor of \u003ci>\u003ca href=\"https://nyupress.org/9781479816859/the-stonewall-riots/\" target=\"_blank\" rel=\"noopener\">The Stonewall Riots: A Documentary History\u003c/a>\u003c/i>, thinks the timing of Patterson’s article wasn’t coincidental, and reflected the era’s homophobic attitudes to burgeoning gay organizing. “October was the month when mainstream magazines first covered Stonewall,” he says. “The movement is really growing. And it’s at that moment that there’s this incredibly hostile story.”\u003c/p>\n\u003cfigure id=\"attachment_13859586\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859586\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/BarbCOMBO_1200.jpg\" alt=\"Back-to-back issues of the 'Berkeley Barb' on March 28 and April 4, 1969, featuring Leo Laurence and Gale Whittington.\" width=\"1200\" height=\"913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BarbCOMBO_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BarbCOMBO_1200-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BarbCOMBO_1200-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BarbCOMBO_1200-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BarbCOMBO_1200-1020x776.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Back-to-back issues of the ‘Berkeley Barb’ on March 28 and April 4, 1969, featuring Leo Laurence and Gale Whittington. \u003ccite>(Courtesy of Independent Voices)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Join the gay revolution\u003c/h2>\n\u003cp>Before the events of the Purple Hand and before the creation of the CHF, the largest gay organization in San Francisco was the Society for Individual Rights (S.I.R.), a homophile society (to use the language of the time) founded in 1964.\u003c/p>\n\u003cp>As the women’s rights, anti-war and Black power movements swept the country, some younger members of the LGBTQ+ community considered S.I.R. to be too conservative. In an April 1969 editorial, Leo Laurence, editor of \u003ci>Vector\u003c/i>, S.I.R.’s monthly magazine, broke ranks with the mostly white, middle-class and nonconfrontational members of S.I.R., calling them “timid, uptight, conservative, and afraid to act for the good of the whole homosexual community.”\u003c/p>\n\u003cp>The time had come, Laurence argued, for everyone to come out to their friends, family and employers, and to be proud of their sexuality. They should be joining forces with other social causes, like the Black Panthers and local unions, and standing up for everyone’s rights. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To illustrate his idea of LGBTQ+ freedom in a subsequent \u003ci>Berkeley Barb\u003c/i> interview, Laurence supplied the alt weekly with a picture of two men smiling: Laurence with his arms around his friend Gale Whittington. In no short order, S.I.R. asked Laurence to resign, and Whittington was fired from his job at the States Steamship Company.\u003c/p>\n\u003cp>The CHF, co-founded by Laurence, Whittington and a few others, was a direct reaction to this double rejection from both “straight” society and the existing gay establishment. And with this effort, they would be all about coalition-building.\u003c/p>\n\u003cfigure id=\"attachment_13859592\" class=\"wp-caption aligncenter\" style=\"max-width: 1020px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859592\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/GaysRisingUp.jpg\" alt=\"Headline from an article by Leo Laurence in the Nov. 7 issue of the 'Berkeley Tribe.'\" width=\"1020\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/GaysRisingUp.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/GaysRisingUp-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/GaysRisingUp-800x340.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/GaysRisingUp-768x326.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003cfigcaption class=\"wp-caption-text\">Headline from an article by Leo Laurence in the Nov. 7 issue of the ‘Berkeley Tribe.’ \u003ccite>(Courtesy of Independent Voices)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Purple Hand events were co-organized by at least three like-minded groups, including Gay Guerrilla Theater and the Gay Liberation Front. But despite the fracture between Laurence and S.I.R. that precipitated the creation of the CHF months earlier, the old-guard emerged as surprising supporters of the younger demonstrators as well.\u003c/p>\n\u003cp>In a Nov. 7 \u003ci>Berkeley Tribe\u003c/i> piece reflecting on the demonstration and its aftermath, Laurence writes, “I was scared and felt alone in jail, until I learned of the help mobilized ‘outside.’” The Red Mountain Tribe gathered bail money, S.I.R.’s president saved Laurence’s camera film before he was thrown in the paddy wagon, Del Martin (co-founder in 1955 of the lesbian group Daughters of Bilitis) helped CHF find lawyers, writing several sympathetic articles for \u003ci>Vector\u003c/i> in the months to come.\u003c/p>\n\u003cp>“When Gale Whittington and I founded the CHF last spring, we dreamed of a nationwide movement,” Laurence writes in the \u003ci>Tribe\u003c/i>. “It’s no longer a fantasy.”\u003c/p>\n\u003ch2>After the Purple Hand\u003c/h2>\n\u003cp>Protests against mainstream media’s depictions of the LGBTQ+ community would continue for years to come. The Purple Hand events, Stein says, are just one example of protests across the country against newspapers and magazines in ’69 and ’70, along with a second wave of protests against television stations and individual shows in ’73. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.avicollimecca.com/\" rel=\"noopener\" target=\"_blank\">Tommi Avicolli Mecca\u003c/a>, who joined the Gay Liberation Front in Philadelphia when he was a 19-year-old student at Temple University, remembers those times well. “Back in the ’70s especially pretty much any time they did a feature on the community it would be very negative,” he remembers. The GLF would picket or actually enter the newspaper offices, confronting editors and writers of the specific stories.\u003c/p>\n\u003cp>Through a combination of direct action, face-to-face conversations and larger shifts in society, Mecca says, things gradually changed, fulfilling in many ways Laurence’s early 1969 call-to-arms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Thanks to the show \u003cem>RuPaul’s Drag Race \u003c/em>and its accompanying DragCon beauty conference, the art of drag is now a multi-million-dollar industry with straight and LGBTQ+ consumers alike. [aside postid='arts_13858877']\u003c/p>\n\u003cp>But before drag culture crossed over into the mainstream, it was a source of survival for queer and trans youth whose families rejected them for expressing themselves. Since at least the ’60s, drag houses functioned as chosen families that kept young people off the streets.\u003c/p>\n\u003cp>That legacy is what \u003ca href=\"https://www.facebook.com/TheRexyProject/\" target=\"_blank\" rel=\"noopener\">The One and Only Rexy\u003c/a> and \u003ca href=\"https://www.instagram.com/thegracetowers/?hl=en\" target=\"_blank\" rel=\"noopener\">Grace Towers\u003c/a> decided to channel when they teamed up to create DragTivism, a mentorship program for LGBTQ+ youth that uses drag makeup as an art therapy tool, building community through carefully applied rhinestones, false lashes and contouring.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size='large' align='right' citation='The One and Only Rexy']\u003c/span>“Eventually for me, my drag turned into my source of power.”[/pullquote]\u003c/p>\n\u003cp>The first DragTivism event took place last year during Pride Month at the \u003ca href=\"https://www.sfcenter.org\" target=\"_blank\" rel=\"noopener\">San Francisco LGBT Center\u003c/a>, when about a dozen young people in their late teens and early 20s came for a weekend of food, performances and workshops. Some of the youth were housing-insecure; others had supportive families but were still figuring out their identity labels and transitions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“At some point, drag is cheaper than therapy,” says Towers. “What we leave on the stage is the processing of emotional, mental and just,” she sighs, “life.”\u003c/p>\n\u003cp>For many of last year’s attendees, DragTivism was also an entry point into the SF LGBT Center, which offers a variety of social services, including \u003ca href=\"https://www.sfcenter.org/program/employment_services/\" target=\"_blank\" rel=\"noopener\">an employment program\u003c/a>, \u003ca href=\"https://www.sfcenter.org/program/housing-financial/\" target=\"_blank\" rel=\"noopener\">financial literacy training\u003c/a> and an \u003ca href=\"https://www.sfcenter.org/program/housing-financial/\" target=\"_blank\" rel=\"noopener\">affordable housing clinic\u003c/a> for renters. [aside postid='arts_13859162']\u003c/p>\n\u003cp>The next DragTivism is in the works for \u003ca href=\"https://oaklandpride.org/parade-festival/\" target=\"_blank\" rel=\"noopener\">Oakland Pride\u003c/a> in early September. Last year, the mentees worked one-on-one with professional drag performers, such as award-winning San Francisco performance artist and storyteller \u003ca href=\"https://www.julianadlopera.com\" target=\"_blank\" rel=\"noopener\">Juliana Delgado Lopera\u003c/a>. She and the other mentors taught participating youth about character development and building a performance. Most importantly, they encouraged them to find their unique forms of self-expression in a supportive and inclusive environment.\u003c/p>\n\u003cp>“That’s where we saw a lot of our youth really start to flourish,” says The One and Only Rexy, a.k.a. Rexy Tapia, who also began to blossom after performing in drag for the first time.\u003c/p>\n\u003cfigure id=\"attachment_13859472\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859472\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/dragtivism-2-800x450.jpg\" alt=\"DragTivism is a mentorship program for LGBTQ+ youth that uses makeup as an art therapy tool.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/dragtivism-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/dragtivism-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/dragtivism-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/dragtivism-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/dragtivism-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/dragtivism-2.jpg 1332w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DragTivism is a mentorship program for LGBTQ+ youth that uses makeup as an art therapy tool. \u003ccite>(Courtesy of DragTivism)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her debut came at an assembly, when she was only in middle school. Feeling seen for the first time, she came out as queer the same day. That whirlwind formative experience emboldened Tapia to become one of Mission High School’s fiercest student activists in the years that followed. By junior year, she became president of the school’s GSA Network and designed an LGBTQ+ history curriculum (in her free time, during spring break!) that’s now being taught at several San Francisco public schools.\u003c/p>\n\u003cp>During this period of honing her skills as an artist and leader, Tapia noticed herself wearing drag more and more, and that she felt her best presenting as a woman. After graduating in 2015, she came out as trans. [aside postid='arts_13858290']\u003c/p>\n\u003cp>“Doing drag gave me the ability to express myself and find myself when I didn’t have any other way of doing so,” reflects Tapia, whose drag looks are high-femme and all about showing leg. “That’s really I hope what youths find in drag. Eventually for me, my drag turned into my source of power.”\u003c/p>\n\u003cp>The idea for DragTivism came in 2018 when Tapia met Towers, one of her drag idols. Towers, a bold performer who often rocks dramatic eye makeup, chest hair and a beard, is a member of \u003ca href=\"https://www.queensofthecastro.com/grace-towers-scholarship-for-the-arts\" target=\"_blank\" rel=\"noopener\">Queens of the Castro\u003c/a>, a nonprofit that gives scholarships to LGBTQ+ youth. Her and Tapia’s backgrounds in education are a big reason why mentorship is such an important aspect of the event.\u003c/p>\n\u003cp>https://www.instagram.com/p/BxO4LIEHsZM/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>“Having a queer mentor of some sort is something that I wish I would have had when I was going through my troubled youth,” says Towers. “It’s been really beautiful to see mentorship on both ends, not just what we’re curating for the youth to come and partake in, but me and Rexy are actively engaged in this mentorship dynamic.”\u003c/p>\n\u003cp>Tapia says that not all drag spaces are trans-friendly—as evinced by RuPaul’s \u003ca href=\"https://www.vox.com/culture/2018/3/6/17085244/rupaul-trans-women-drag-queens-interview-controversy\" target=\"_blank\" rel=\"noopener\">controversial 2018 comments\u003c/a> suggesting that he wouldn’t allow a transitioning trans woman to compete on \u003cem>Drag Race \u003c/em>(though that changed this year with trans performer Gia Gunn’s inclusion). That’s why Tapia and Towers take care to ensure that DragTivism is welcoming to all the identities under the LGBTQ+ umbrella—including those who are gender-nonconforming or have a performance style that doesn’t fit the pageant-ready drag queen mold.\u003c/p>\n\u003cp>“We’re starting to be at a point in the drag scene where drag is not political anymore, or in many spaces it’s even more hostile to trans people and anyone who’s not a cis, gay man,” says Tapia. “That’s another reason why it’s important for me as a trans woman, as a woman, as a person of color, to continue creating this ability for youth.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BxQggqMh-8A/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>Tapia says drag taught her about the history of LGBTQ+ activism. She learned that drag queens and trans women were key agitators in the Compton’s Cafeteria riot in San Francisco and the Stonewall uprising in New York City, two instances in the 1960s when the LGBTQ+ community rioted against police brutality and sparked the modern-day gay rights movement.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size='large' align='right' citation='Grace Towers']“At some point, drag is cheaper than therapy.”\u003c/span>[/pullquote]\u003c/p>\n\u003cp>That history has fueled Tapia’s activism, and, through DragTivism and the public-school curricula she designs, she wants youth to feel similarly empowered. “That’s what I hope our youth are getting out of DragTivism, that they’re getting access to the information they rightfully deserve,” she says, adding that education is power.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“They can know they have that power to create change while having fun and looking fabulous.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Thanks to the show \u003cem>RuPaul’s Drag Race \u003c/em>and its accompanying DragCon beauty conference, the art of drag is now a multi-million-dollar industry with straight and LGBTQ+ consumers alike. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But before drag culture crossed over into the mainstream, it was a source of survival for queer and trans youth whose families rejected them for expressing themselves. Since at least the ’60s, drag houses functioned as chosen families that kept young people off the streets.\u003c/p>\n\u003cp>That legacy is what \u003ca href=\"https://www.facebook.com/TheRexyProject/\" target=\"_blank\" rel=\"noopener\">The One and Only Rexy\u003c/a> and \u003ca href=\"https://www.instagram.com/thegracetowers/?hl=en\" target=\"_blank\" rel=\"noopener\">Grace Towers\u003c/a> decided to channel when they teamed up to create DragTivism, a mentorship program for LGBTQ+ youth that uses drag makeup as an art therapy tool, building community through carefully applied rhinestones, false lashes and contouring.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first DragTivism event took place last year during Pride Month at the \u003ca href=\"https://www.sfcenter.org\" target=\"_blank\" rel=\"noopener\">San Francisco LGBT Center\u003c/a>, when about a dozen young people in their late teens and early 20s came for a weekend of food, performances and workshops. Some of the youth were housing-insecure; others had supportive families but were still figuring out their identity labels and transitions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“At some point, drag is cheaper than therapy,” says Towers. “What we leave on the stage is the processing of emotional, mental and just,” she sighs, “life.”\u003c/p>\n\u003cp>For many of last year’s attendees, DragTivism was also an entry point into the SF LGBT Center, which offers a variety of social services, including \u003ca href=\"https://www.sfcenter.org/program/employment_services/\" target=\"_blank\" rel=\"noopener\">an employment program\u003c/a>, \u003ca href=\"https://www.sfcenter.org/program/housing-financial/\" target=\"_blank\" rel=\"noopener\">financial literacy training\u003c/a> and an \u003ca href=\"https://www.sfcenter.org/program/housing-financial/\" target=\"_blank\" rel=\"noopener\">affordable housing clinic\u003c/a> for renters. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The next DragTivism is in the works for \u003ca href=\"https://oaklandpride.org/parade-festival/\" target=\"_blank\" rel=\"noopener\">Oakland Pride\u003c/a> in early September. Last year, the mentees worked one-on-one with professional drag performers, such as award-winning San Francisco performance artist and storyteller \u003ca href=\"https://www.julianadlopera.com\" target=\"_blank\" rel=\"noopener\">Juliana Delgado Lopera\u003c/a>. She and the other mentors taught participating youth about character development and building a performance. Most importantly, they encouraged them to find their unique forms of self-expression in a supportive and inclusive environment.\u003c/p>\n\u003cp>“That’s where we saw a lot of our youth really start to flourish,” says The One and Only Rexy, a.k.a. Rexy Tapia, who also began to blossom after performing in drag for the first time.\u003c/p>\n\u003cfigure id=\"attachment_13859472\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859472\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/dragtivism-2-800x450.jpg\" alt=\"DragTivism is a mentorship program for LGBTQ+ youth that uses makeup as an art therapy tool.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/dragtivism-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/dragtivism-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/dragtivism-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/dragtivism-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/dragtivism-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/dragtivism-2.jpg 1332w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DragTivism is a mentorship program for LGBTQ+ youth that uses makeup as an art therapy tool. \u003ccite>(Courtesy of DragTivism)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her debut came at an assembly, when she was only in middle school. Feeling seen for the first time, she came out as queer the same day. That whirlwind formative experience emboldened Tapia to become one of Mission High School’s fiercest student activists in the years that followed. By junior year, she became president of the school’s GSA Network and designed an LGBTQ+ history curriculum (in her free time, during spring break!) that’s now being taught at several San Francisco public schools.\u003c/p>\n\u003cp>During this period of honing her skills as an artist and leader, Tapia noticed herself wearing drag more and more, and that she felt her best presenting as a woman. After graduating in 2015, she came out as trans. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Having a queer mentor of some sort is something that I wish I would have had when I was going through my troubled youth,” says Towers. “It’s been really beautiful to see mentorship on both ends, not just what we’re curating for the youth to come and partake in, but me and Rexy are actively engaged in this mentorship dynamic.”\u003c/p>\n\u003cp>Tapia says that not all drag spaces are trans-friendly—as evinced by RuPaul’s \u003ca href=\"https://www.vox.com/culture/2018/3/6/17085244/rupaul-trans-women-drag-queens-interview-controversy\" target=\"_blank\" rel=\"noopener\">controversial 2018 comments\u003c/a> suggesting that he wouldn’t allow a transitioning trans woman to compete on \u003cem>Drag Race \u003c/em>(though that changed this year with trans performer Gia Gunn’s inclusion). That’s why Tapia and Towers take care to ensure that DragTivism is welcoming to all the identities under the LGBTQ+ umbrella—including those who are gender-nonconforming or have a performance style that doesn’t fit the pageant-ready drag queen mold.\u003c/p>\n\u003cp>“We’re starting to be at a point in the drag scene where drag is not political anymore, or in many spaces it’s even more hostile to trans people and anyone who’s not a cis, gay man,” says Tapia. “That’s another reason why it’s important for me as a trans woman, as a woman, as a person of color, to continue creating this ability for youth.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tapia says drag taught her about the history of LGBTQ+ activism. She learned that drag queens and trans women were key agitators in the Compton’s Cafeteria riot in San Francisco and the Stonewall uprising in New York City, two instances in the 1960s when the LGBTQ+ community rioted against police brutality and sparked the modern-day gay rights movement.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "“At some point, drag is cheaper than therapy.”\u003c/span>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That history has fueled Tapia’s activism, and, through DragTivism and the public-school curricula she designs, she wants youth to feel similarly empowered. “That’s what I hope our youth are getting out of DragTivism, that they’re getting access to the information they rightfully deserve,” she says, adding that education is power.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They can know they have that power to create change while having fun and looking fabulous.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "aids-activism-san-francisco-1980s",
"title": "While the US Government Sat Idle, AIDS Activism Mobilized in San Francisco",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>By the time the Surgeon General of the United States published the office’s \u003ca href=\"https://profiles.nlm.nih.gov/ps/retrieve/Narrative/NN/p-nid/62\" target=\"_blank\" rel=\"noopener\">first report\u003c/a> on Acquired Immune Deficiency Syndrome, 27,000 Americans were already dead or dying of AIDS.\u003c/p>\n\u003cp>[aside postID='arts_13859162,arts_13858167,arts_13854639' label='More Queer History']\u003c/p>\n\u003cp>Issued in late October 1986, Surgeon General C. Everett Koop’s slim pamphlet contained much-needed public health information stripped of the political rhetoric that characterized nearly all of Washington’s conversations about AIDS—but it was not timely.\u003c/p>\n\u003cp>The report appeared nearly five and a half years after the Centers for Disease Control identified the first patients of what would come to be known as AIDS. In 1981. In the meantime, national media coverage had alternately ignored and sensationalized the epidemic, often repeating misinformation about the disease’s communicability or paying attention only to patients from “the general population” instead of the gay men who were the majority of the early stricken.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>President Ronald Reagan wouldn’t make his first public address on the subject until the end of May 1987.\u003c/p>\n\u003cp>Faced with a lack of either federal leadership or journalistic accountability between the years of the CDC’s first report and Koop’s belated one (and for years after), the task of warning against AIDS, agitating for research funding and educating the public about the epidemic fell to individuals living with AIDS or those caring for them. They created their own support structures, their own pamphlets, benefit parties, newsletters and vigils.\u003c/p>\n\u003cp>Traces of these efforts can be found in the ephemera collections of various Bay Area archives, including the San Francisco Public Library, home to the \u003ca href=\"https://sfpl.org/index.php?pg=2000003701\" target=\"_blank\" rel=\"noopener\">James C. Hormel LGBTQIA Center\u003c/a>. While the posters in these collection—along with flyers, pamphlets, stickers and mailings—in no way tell a complete story of local AIDS activism in the 1980s, they do provide a sense of the material that was circulating during the time, offering tangible proof of a community fighting for its life.\u003c/p>\n\u003cfigure id=\"attachment_13859416\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859416\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Pride_82.jpg\" alt=\"Lesbian/Gay Freedom Day parade and celebration guide. The year's theme was "Out of Many...One."\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Pride_82.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Pride_82-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Pride_82-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Pride_82-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Pride_82-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cover of the 1982 International Lesbian/Gay Freedom Day parade and celebration guide. The year’s theme was “Out of Many…One.” \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The KS Poster Boy\u003c/h2>\n\u003cp>Before people suffering from weakened immune systems and opportunistic infections were grouped under the moniker of AIDS (the CDC would first use this term in September 1982), a unifying diagnosis for many early patients was \u003ca href=\"https://aidsinfo.nih.gov/education-materials/glossary/401/kaposi-sarcoma\" target=\"_blank\" rel=\"noopener\">Kaposi’s sarcoma\u003c/a> (KS), a rare and unusually aggressive skin cancer that appeared as purplish lesions. San Francisco resident and registered nurse \u003ca href=\"https://en.wikipedia.org/wiki/Bobbi_Campbell\" target=\"_blank\" rel=\"noopener\">Bobbi Campbell\u003c/a> was the first KS patient to go public with his condition, with a December 1981 article in the nationally syndicated gay newspaper \u003ci>San Francisco Sentinel\u003c/i>. At the same time, he convinced a Castro drugstore to hang photographs of his lesions in the window, showing other men what to look for as he alerted them to the reality of this new disease.\u003c/p>\n\u003cp>Campbell appears in the 1982 International Lesbian/Gay Freedom Day guide (as the Pride parade was then known) under the headline “What’s it like to have Kaposi’s sarcoma?,” the first mention of the AIDS in the annual celebration’s materials.\u003c/p>\n\u003cp>In his short column, the self-proclaimed “KS Poster Boy” strikes an optimistic tone of warning: “Are you thinking ‘This can’t happen to me’? I didn’t think it could happen to me, either. But it did.”\u003c/p>\n\u003cp>Alongside Campbell’s feature is a dry, much more clinical text authored by two registered nurses. “Something is breaking down the immune systems of certain gay men, leaving them susceptible to disease,” they write. “In general it is crucial to take care of yourself, in this time when far too many gay men are dying of unexplained causes.”\u003c/p>\n\u003cp>In 1985, the parade would be dedicated to Campbell, who died in August 1984.\u003c/p>\n\u003cfigure id=\"attachment_13859419\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859419\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B.jpg\" alt='\"Can we talk?\" brochure developed by the AIDS Education and Information Committee of the Harvey Milk Gay Democratic club with information from Bay Area Physicians for Human Rights, 1983.' width=\"1200\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B-800x384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B-768x369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B-1020x490.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">“Can we talk?” brochure developed by the AIDS Education and Information Committee of the Harvey Milk Gay Democratic club with information from Bay Area Physicians for Human Rights, 1983. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘We are fighting for our lives’\u003c/h2>\n\u003cp>In early 1983, with San Francisco’s Department of Public Health yet to produce a single piece of informational literature on AIDS, the \u003ca href=\"http://www.milkclub.org/about\" target=\"_blank\" rel=\"noopener\">Harvey Milk Gay Democratic Club\u003c/a> took matters into its own hands. Developed with information from Bay Area Physicians for Human Rights, this frank and simple brochure provided what was, at the time, the best risk-reduction guidelines available to the gay community.\u003c/p>\n\u003cp>“We don’t have to give up sex, but we do have to be careful,” the brochure reads. It then proceeds to go step by step through various sex acts, defining them as “very risky,” “minimal risk” or “yes! yes! yes!” (hugging and other sensual, yet nonsexual, activities), all of which is illustrated by a series of charmingly cheeky cartoons.\u003c/p>\n\u003cp>“In this time of crisis, it is essential that we reexamine our ways of sexual expression,” the brochure says. “The issue is not a moral one, but a practical one. We have fought for our freedom and intend to continue that fight, but this struggle is even more basic. We are fighting for our lives.”\u003c/p>\n\u003cfigure id=\"attachment_13859418\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859418\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/AssortedPamphlets.jpg\" alt=\"Sex education and risk-reduction pamphlets from the 1980s, many produced by the San Francisco AIDS Foundation.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AssortedPamphlets.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AssortedPamphlets-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AssortedPamphlets-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AssortedPamphlets-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AssortedPamphlets-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sex education and risk-reduction pamphlets from the 1980s, many produced by the San Francisco AIDS Foundation. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Spreading the word\u003c/h2>\n\u003cp>The archives are filled with pamphlets and brochures, many targeting specific demographics affected by the AIDS epidemic, but not necessarily those seen in earliest media reports: white gay men. Most of the above pamphlets come from the late ’80s, well after the early days of panic, disinformation and denial, when safe sex suggestions might be dismissed as moralistic, homophobic messages.\u003c/p>\n\u003cp>Several of the above were published by the \u003ca href=\"https://www.sfaf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco AIDS Foundation\u003c/a>, co-founded by Cleve Jones in 1982 (as the Kaposi’s Sarcoma Foundation) in response to the city’s emerging health crisis. Described in Randy Shilts’ seminal text on the AIDS epidemic, \u003ci>And the Band Played On\u003c/i>, the early days of the SF AIDS Foundation “started with one beat-up typewriter donated by a local gay bartender, office supplies pilfered from volunteers’ various employers, and one telephone that started ringing within an hour of hits installation. And it never stopped ringing.”\u003c/p>\n\u003cp>As it grew, the SF AIDS Foundation sponsored condom distribution during Pride, the first public demonstration of people with AIDS (a candlelight vigil in March 1983), the first AIDS bike-a-thon, the creation of a food bank, a needle exchange and many, many trifolded pieces of educational literature.\u003c/p>\n\u003cfigure id=\"attachment_13859417\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859417\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction.jpg\" alt=\"Cover of the ACT UP San Francisco newsletter, March 1989, featuring a short announcement of a Jan. 31 action on the Golden Gate Bridge.\" width=\"1200\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction-1020x632.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cover of the ACT UP San Francisco newsletter, March 1989, featuring a short announcement of a Jan. 31 action on the Golden Gate Bridge. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>ACT UP/San Francisco\u003c/h2>\n\u003cp>Formed in New York in 1987 after a galvanizing speech by Larry Kramer at the Lesbian and Gay Community Services Center, the \u003ca href=\"http://www.actupny.org/\" rel=\"noopener\" target=\"_blank\">AIDS Coalition to Unleash Power\u003c/a> (ACT UP), was a leaderless, anarchic network of direct action protest groups that eventually spread around the world. In San Francisco, an existing activist group, AIDS Action Pledge, merged with ACT UP and changed its name to become ACT UP/San Francisco.\u003c/p>\n\u003cp>In an undated pamphlet titled “Our Goals and Demands,” the group, “united in anger and hope,” argues for “massive governmental funding for research, health care, education, anonymous testing, and treatment.” That funding, they reason, should be taken from the military budget.\u003c/p>\n\u003cp>On Jan. 20, 1989, ACT UP/SF members staged \u003ca href=\"https://www.youtube.com/watch?v=H3zefhq9Ql4\" target=\"_blank\" rel=\"noopener\">a die-in\u003c/a> at the Pacific Stock Exchange, timed to George H.W. Bush’s inauguration in Washington, D.C. As activists sprawled on the ground, fellow members traced their outlines in chalk. Speaking through a megaphone, an ACT UP member named Brigid spoke to the assembled crowd, “This government, for the past eight years, has been known for what it has not done. It has not cared about people with AIDS. We have been expendable.” The question was: What, if anything, would President Bush do differently?\u003c/p>\n\u003cp>ACT UP/San Francisco would stage many other demonstrations, including a week of actions timed to the Sixth International Conference on AIDS, which took place in San Francisco in June 1990. Journalist and activist Tim Kingston, who participated in these events, told \u003ci>\u003ca href=\"https://48hills.org/2015/06/the-week-act-up-shut-sf-down/\" target=\"_blank\" rel=\"noopener\">48 Hills\u003c/a>\u003c/i> in 2015, “If ACT UP hadn’t pushed so hard, AIDS medical research would be 20 years behind.”\u003c/p>\n\u003cp>“In ’87, no one had heard of ACT UP. In ’89, we were banging on the door. And in ’90, we had arrived full-scale.”\u003c/p>\n\u003cfigure id=\"attachment_13859420\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859420\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ShantiProject.jpg\" alt=\"An undated Shanti Project pamphlet; the summer 1984 issue of 'Eclipse,' the Shanti Project newsletter; a flyer for a 1989 comedy showcase benefitting the Shanti Project, featuring Margaret Cho.\" width=\"1200\" height=\"865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ShantiProject.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ShantiProject-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ShantiProject-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ShantiProject-768x554.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ShantiProject-1020x735.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An undated Shanti Project pamphlet; the summer 1984 issue of ‘Eclipse,’ the Shanti Project newsletter; a flyer for a 1989 comedy showcase benefitting the Shanti Project, featuring Margaret Cho. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shanti Project\u003c/h2>\n\u003cp>Callers to the SF AIDS Foundation hotline might be directed to the \u003ca href=\"http://www.shanti.org/\" target=\"_blank\" rel=\"noopener\">Shanti Project\u003c/a>, a Berkeley organization founded in 1974 to enhance the health, quality of life and well-being of people with terminal, life-threatening or disabling illnesses. In 1982, Bobbi Campbell and Jim Geary, a volunteer grief counselor with the Shanti Project, offered weekly meetings for Karposi’s sarcoma patients, one of the only services available at the time to those who would later be understood as people with AIDS.\u003c/p>\n\u003cp>In May 1983, the San Francisco Board of Supervisors approved $2.1 million for the city’s early AIDS programs, providing enough money to the Shanti Project to create residences for 48 homeless AIDS patients. (This amount, Shilts wrote in \u003ci>And the Band Played On\u003c/i>, combined with an additional $1 million enacted for AIDS in 1982, meant spending by the city of San Francisco “exceeded the funds released to the entire country by the National Institutes of Health for extramural AIDS research.”)\u003c/p>\n\u003cp>In the above 1984 issue of \u003ci>Eclipse\u003c/i>, the Shanti Project newsletter, registered nurse Helen Schietinger writes of the project’s success in helping people approach the end of their lives with dignity: “For many, the Shanti Residence Program has provided the stability and security which enables them to continue living their lives focused on what is important to them, rather than worrying about whether they have a roof over their heads.”\u003c/p>\n\u003cfigure id=\"attachment_13859422\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859422\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/DNCMarch_84.jpg\" alt=\"Pamphlet announcing the National March for Lesbian/Gay Rights, to coincide with the Democratic National Convention in San Francisco, 1984.\" width=\"1200\" height=\"770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DNCMarch_84.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DNCMarch_84-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DNCMarch_84-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DNCMarch_84-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DNCMarch_84-1020x655.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Pamphlet announcing the National March for Lesbian/Gay Rights, to coincide with the Democratic National Convention in San Francisco, 1984. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Confronting the Democratic Party\u003c/h2>\n\u003cp>In 1984, the Democratic National Convention took place in San Francisco, and the city’s LGBTQ+ population marched for their core issues. At the top of their list? “Immediate and massive federal funding to end the AIDS epidemic.”\u003c/p>\n\u003cp>In a two-mile march from the Castro to the Moscone Center, 100,000 people filled the street, hoping to create a scene that would reach the national media and bring gay and lesbian issues to the rest of the country.\u003c/p>\n\u003cp>“At the 1984 Convention,” the organizing documents read, “we have an opportunity to define our own issues and choose our own spokespeople. If we do not do this, the media, which will surely write ‘the gay story’ of this convention, will make our choices for us.”\u003c/p>\n\u003cp>In a classic San Francisco note, alongside route logistics and an entertainment lineup (comedy from Tom Ammiano), is the following: “Bring a sweater—weather changes quickly in S.F.”\u003c/p>\n\u003cfigure id=\"attachment_13859423\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/NAMES.jpg\" alt=\"A NAMES Project flyer from 1988 and the NAMES newsletter from fall 1989.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/NAMES.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/NAMES-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/NAMES-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/NAMES-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/NAMES-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A NAMES Project flyer from 1988 and the NAMES newsletter from fall 1989. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The AIDS Memorial Quilt\u003c/h2>\n\u003cp>While the \u003ca href=\"https://www.kqed.org/arts/13856309/how-the-aids-memorial-grove-became-the-true-heart-of-san-francisco\" target=\"_blank\" rel=\"noopener\">AIDS Memorial Grove\u003c/a> in Golden Gate Park is the nation’s official site of remembrance, the \u003ca href=\"https://www.aidsquilt.org/\" target=\"_blank\" rel=\"noopener\">AIDS Memorial Quilt\u003c/a>, a project that began in 1987 and now numbers over 48,000 individual panels, is its peripatetic one.\u003c/p>\n\u003cp>Each panel measures 3 by 6 feet, the approximate size of a grave. And each commemorates a family member or loved one lost to AIDS, hand-stitched with personal symbols, objects, names and dates. The first public display, in October 1987, took place on the Capitol Mall in Washington, D.C. with 1,920 panels. A year later, the quilt returned to Washington with more than 8,000 panels. Its goal was to impress upon the federal government—and the American people—the scale of the AIDS epidemic, and the desperate need for increased federal funds in the fight against it.\u003c/p>\n\u003cp>The brochure reads, “With the Quilt, we’re able to touch people in a new way and open their hearts so that they no longer turn away, but rather understand the value of all these lost lives.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>By the end of the 1980s, nine years after the CDC’s first reported cases, nearly 90,000 Americans had died of AIDS. Many more groups would form in the years to come to fight for more effective AIDS treatments and against the slow-moving bureaucracy that stifled such research. And many more actions would \u003ca href=\"https://youtu.be/hvKAIPOBWlY\" rel=\"noopener\" target=\"_blank\">directly confront the American public\u003c/a> with the scale of the crisis, skillfully using media coverage to amplify their message. But when no one was watching—or seemingly caring—the efforts of individuals and groups like those documented above made sure the American people and their government could no longer turn away from AIDS.\u003c/p>\n\n",
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"excerpt": "Battling homophobia and government inaction, LGBTQ+ San Franciscans built systems of support and education from the ground up.",
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"title": "While the US Government Sat Idle, AIDS Activism Mobilized in San Francisco | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>By the time the Surgeon General of the United States published the office’s \u003ca href=\"https://profiles.nlm.nih.gov/ps/retrieve/Narrative/NN/p-nid/62\" target=\"_blank\" rel=\"noopener\">first report\u003c/a> on Acquired Immune Deficiency Syndrome, 27,000 Americans were already dead or dying of AIDS.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Issued in late October 1986, Surgeon General C. Everett Koop’s slim pamphlet contained much-needed public health information stripped of the political rhetoric that characterized nearly all of Washington’s conversations about AIDS—but it was not timely.\u003c/p>\n\u003cp>The report appeared nearly five and a half years after the Centers for Disease Control identified the first patients of what would come to be known as AIDS. In 1981. In the meantime, national media coverage had alternately ignored and sensationalized the epidemic, often repeating misinformation about the disease’s communicability or paying attention only to patients from “the general population” instead of the gay men who were the majority of the early stricken.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>President Ronald Reagan wouldn’t make his first public address on the subject until the end of May 1987.\u003c/p>\n\u003cp>Faced with a lack of either federal leadership or journalistic accountability between the years of the CDC’s first report and Koop’s belated one (and for years after), the task of warning against AIDS, agitating for research funding and educating the public about the epidemic fell to individuals living with AIDS or those caring for them. They created their own support structures, their own pamphlets, benefit parties, newsletters and vigils.\u003c/p>\n\u003cp>Traces of these efforts can be found in the ephemera collections of various Bay Area archives, including the San Francisco Public Library, home to the \u003ca href=\"https://sfpl.org/index.php?pg=2000003701\" target=\"_blank\" rel=\"noopener\">James C. Hormel LGBTQIA Center\u003c/a>. While the posters in these collection—along with flyers, pamphlets, stickers and mailings—in no way tell a complete story of local AIDS activism in the 1980s, they do provide a sense of the material that was circulating during the time, offering tangible proof of a community fighting for its life.\u003c/p>\n\u003cfigure id=\"attachment_13859416\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859416\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Pride_82.jpg\" alt=\"Lesbian/Gay Freedom Day parade and celebration guide. The year's theme was "Out of Many...One."\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Pride_82.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Pride_82-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Pride_82-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Pride_82-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Pride_82-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cover of the 1982 International Lesbian/Gay Freedom Day parade and celebration guide. The year’s theme was “Out of Many…One.” \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The KS Poster Boy\u003c/h2>\n\u003cp>Before people suffering from weakened immune systems and opportunistic infections were grouped under the moniker of AIDS (the CDC would first use this term in September 1982), a unifying diagnosis for many early patients was \u003ca href=\"https://aidsinfo.nih.gov/education-materials/glossary/401/kaposi-sarcoma\" target=\"_blank\" rel=\"noopener\">Kaposi’s sarcoma\u003c/a> (KS), a rare and unusually aggressive skin cancer that appeared as purplish lesions. San Francisco resident and registered nurse \u003ca href=\"https://en.wikipedia.org/wiki/Bobbi_Campbell\" target=\"_blank\" rel=\"noopener\">Bobbi Campbell\u003c/a> was the first KS patient to go public with his condition, with a December 1981 article in the nationally syndicated gay newspaper \u003ci>San Francisco Sentinel\u003c/i>. At the same time, he convinced a Castro drugstore to hang photographs of his lesions in the window, showing other men what to look for as he alerted them to the reality of this new disease.\u003c/p>\n\u003cp>Campbell appears in the 1982 International Lesbian/Gay Freedom Day guide (as the Pride parade was then known) under the headline “What’s it like to have Kaposi’s sarcoma?,” the first mention of the AIDS in the annual celebration’s materials.\u003c/p>\n\u003cp>In his short column, the self-proclaimed “KS Poster Boy” strikes an optimistic tone of warning: “Are you thinking ‘This can’t happen to me’? I didn’t think it could happen to me, either. But it did.”\u003c/p>\n\u003cp>Alongside Campbell’s feature is a dry, much more clinical text authored by two registered nurses. “Something is breaking down the immune systems of certain gay men, leaving them susceptible to disease,” they write. “In general it is crucial to take care of yourself, in this time when far too many gay men are dying of unexplained causes.”\u003c/p>\n\u003cp>In 1985, the parade would be dedicated to Campbell, who died in August 1984.\u003c/p>\n\u003cfigure id=\"attachment_13859419\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859419\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B.jpg\" alt='\"Can we talk?\" brochure developed by the AIDS Education and Information Committee of the Harvey Milk Gay Democratic club with information from Bay Area Physicians for Human Rights, 1983.' width=\"1200\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B-800x384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B-768x369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/HarveyMilkDemClub_Flyer_83B-1020x490.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">“Can we talk?” brochure developed by the AIDS Education and Information Committee of the Harvey Milk Gay Democratic club with information from Bay Area Physicians for Human Rights, 1983. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘We are fighting for our lives’\u003c/h2>\n\u003cp>In early 1983, with San Francisco’s Department of Public Health yet to produce a single piece of informational literature on AIDS, the \u003ca href=\"http://www.milkclub.org/about\" target=\"_blank\" rel=\"noopener\">Harvey Milk Gay Democratic Club\u003c/a> took matters into its own hands. Developed with information from Bay Area Physicians for Human Rights, this frank and simple brochure provided what was, at the time, the best risk-reduction guidelines available to the gay community.\u003c/p>\n\u003cp>“We don’t have to give up sex, but we do have to be careful,” the brochure reads. It then proceeds to go step by step through various sex acts, defining them as “very risky,” “minimal risk” or “yes! yes! yes!” (hugging and other sensual, yet nonsexual, activities), all of which is illustrated by a series of charmingly cheeky cartoons.\u003c/p>\n\u003cp>“In this time of crisis, it is essential that we reexamine our ways of sexual expression,” the brochure says. “The issue is not a moral one, but a practical one. We have fought for our freedom and intend to continue that fight, but this struggle is even more basic. We are fighting for our lives.”\u003c/p>\n\u003cfigure id=\"attachment_13859418\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859418\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/AssortedPamphlets.jpg\" alt=\"Sex education and risk-reduction pamphlets from the 1980s, many produced by the San Francisco AIDS Foundation.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AssortedPamphlets.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AssortedPamphlets-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AssortedPamphlets-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AssortedPamphlets-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AssortedPamphlets-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sex education and risk-reduction pamphlets from the 1980s, many produced by the San Francisco AIDS Foundation. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Spreading the word\u003c/h2>\n\u003cp>The archives are filled with pamphlets and brochures, many targeting specific demographics affected by the AIDS epidemic, but not necessarily those seen in earliest media reports: white gay men. Most of the above pamphlets come from the late ’80s, well after the early days of panic, disinformation and denial, when safe sex suggestions might be dismissed as moralistic, homophobic messages.\u003c/p>\n\u003cp>Several of the above were published by the \u003ca href=\"https://www.sfaf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco AIDS Foundation\u003c/a>, co-founded by Cleve Jones in 1982 (as the Kaposi’s Sarcoma Foundation) in response to the city’s emerging health crisis. Described in Randy Shilts’ seminal text on the AIDS epidemic, \u003ci>And the Band Played On\u003c/i>, the early days of the SF AIDS Foundation “started with one beat-up typewriter donated by a local gay bartender, office supplies pilfered from volunteers’ various employers, and one telephone that started ringing within an hour of hits installation. And it never stopped ringing.”\u003c/p>\n\u003cp>As it grew, the SF AIDS Foundation sponsored condom distribution during Pride, the first public demonstration of people with AIDS (a candlelight vigil in March 1983), the first AIDS bike-a-thon, the creation of a food bank, a needle exchange and many, many trifolded pieces of educational literature.\u003c/p>\n\u003cfigure id=\"attachment_13859417\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859417\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction.jpg\" alt=\"Cover of the ACT UP San Francisco newsletter, March 1989, featuring a short announcement of a Jan. 31 action on the Golden Gate Bridge.\" width=\"1200\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ACTUP_GGBridgeAction-1020x632.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cover of the ACT UP San Francisco newsletter, March 1989, featuring a short announcement of a Jan. 31 action on the Golden Gate Bridge. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>ACT UP/San Francisco\u003c/h2>\n\u003cp>Formed in New York in 1987 after a galvanizing speech by Larry Kramer at the Lesbian and Gay Community Services Center, the \u003ca href=\"http://www.actupny.org/\" rel=\"noopener\" target=\"_blank\">AIDS Coalition to Unleash Power\u003c/a> (ACT UP), was a leaderless, anarchic network of direct action protest groups that eventually spread around the world. In San Francisco, an existing activist group, AIDS Action Pledge, merged with ACT UP and changed its name to become ACT UP/San Francisco.\u003c/p>\n\u003cp>In an undated pamphlet titled “Our Goals and Demands,” the group, “united in anger and hope,” argues for “massive governmental funding for research, health care, education, anonymous testing, and treatment.” That funding, they reason, should be taken from the military budget.\u003c/p>\n\u003cp>On Jan. 20, 1989, ACT UP/SF members staged \u003ca href=\"https://www.youtube.com/watch?v=H3zefhq9Ql4\" target=\"_blank\" rel=\"noopener\">a die-in\u003c/a> at the Pacific Stock Exchange, timed to George H.W. Bush’s inauguration in Washington, D.C. As activists sprawled on the ground, fellow members traced their outlines in chalk. Speaking through a megaphone, an ACT UP member named Brigid spoke to the assembled crowd, “This government, for the past eight years, has been known for what it has not done. It has not cared about people with AIDS. We have been expendable.” The question was: What, if anything, would President Bush do differently?\u003c/p>\n\u003cp>ACT UP/San Francisco would stage many other demonstrations, including a week of actions timed to the Sixth International Conference on AIDS, which took place in San Francisco in June 1990. Journalist and activist Tim Kingston, who participated in these events, told \u003ci>\u003ca href=\"https://48hills.org/2015/06/the-week-act-up-shut-sf-down/\" target=\"_blank\" rel=\"noopener\">48 Hills\u003c/a>\u003c/i> in 2015, “If ACT UP hadn’t pushed so hard, AIDS medical research would be 20 years behind.”\u003c/p>\n\u003cp>“In ’87, no one had heard of ACT UP. In ’89, we were banging on the door. And in ’90, we had arrived full-scale.”\u003c/p>\n\u003cfigure id=\"attachment_13859420\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859420\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ShantiProject.jpg\" alt=\"An undated Shanti Project pamphlet; the summer 1984 issue of 'Eclipse,' the Shanti Project newsletter; a flyer for a 1989 comedy showcase benefitting the Shanti Project, featuring Margaret Cho.\" width=\"1200\" height=\"865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ShantiProject.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ShantiProject-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ShantiProject-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ShantiProject-768x554.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ShantiProject-1020x735.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An undated Shanti Project pamphlet; the summer 1984 issue of ‘Eclipse,’ the Shanti Project newsletter; a flyer for a 1989 comedy showcase benefitting the Shanti Project, featuring Margaret Cho. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shanti Project\u003c/h2>\n\u003cp>Callers to the SF AIDS Foundation hotline might be directed to the \u003ca href=\"http://www.shanti.org/\" target=\"_blank\" rel=\"noopener\">Shanti Project\u003c/a>, a Berkeley organization founded in 1974 to enhance the health, quality of life and well-being of people with terminal, life-threatening or disabling illnesses. In 1982, Bobbi Campbell and Jim Geary, a volunteer grief counselor with the Shanti Project, offered weekly meetings for Karposi’s sarcoma patients, one of the only services available at the time to those who would later be understood as people with AIDS.\u003c/p>\n\u003cp>In May 1983, the San Francisco Board of Supervisors approved $2.1 million for the city’s early AIDS programs, providing enough money to the Shanti Project to create residences for 48 homeless AIDS patients. (This amount, Shilts wrote in \u003ci>And the Band Played On\u003c/i>, combined with an additional $1 million enacted for AIDS in 1982, meant spending by the city of San Francisco “exceeded the funds released to the entire country by the National Institutes of Health for extramural AIDS research.”)\u003c/p>\n\u003cp>In the above 1984 issue of \u003ci>Eclipse\u003c/i>, the Shanti Project newsletter, registered nurse Helen Schietinger writes of the project’s success in helping people approach the end of their lives with dignity: “For many, the Shanti Residence Program has provided the stability and security which enables them to continue living their lives focused on what is important to them, rather than worrying about whether they have a roof over their heads.”\u003c/p>\n\u003cfigure id=\"attachment_13859422\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859422\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/DNCMarch_84.jpg\" alt=\"Pamphlet announcing the National March for Lesbian/Gay Rights, to coincide with the Democratic National Convention in San Francisco, 1984.\" width=\"1200\" height=\"770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DNCMarch_84.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DNCMarch_84-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DNCMarch_84-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DNCMarch_84-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DNCMarch_84-1020x655.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Pamphlet announcing the National March for Lesbian/Gay Rights, to coincide with the Democratic National Convention in San Francisco, 1984. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Confronting the Democratic Party\u003c/h2>\n\u003cp>In 1984, the Democratic National Convention took place in San Francisco, and the city’s LGBTQ+ population marched for their core issues. At the top of their list? “Immediate and massive federal funding to end the AIDS epidemic.”\u003c/p>\n\u003cp>In a two-mile march from the Castro to the Moscone Center, 100,000 people filled the street, hoping to create a scene that would reach the national media and bring gay and lesbian issues to the rest of the country.\u003c/p>\n\u003cp>“At the 1984 Convention,” the organizing documents read, “we have an opportunity to define our own issues and choose our own spokespeople. If we do not do this, the media, which will surely write ‘the gay story’ of this convention, will make our choices for us.”\u003c/p>\n\u003cp>In a classic San Francisco note, alongside route logistics and an entertainment lineup (comedy from Tom Ammiano), is the following: “Bring a sweater—weather changes quickly in S.F.”\u003c/p>\n\u003cfigure id=\"attachment_13859423\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/NAMES.jpg\" alt=\"A NAMES Project flyer from 1988 and the NAMES newsletter from fall 1989.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/NAMES.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/NAMES-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/NAMES-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/NAMES-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/NAMES-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A NAMES Project flyer from 1988 and the NAMES newsletter from fall 1989. \u003ccite>(Material from the Gay and Lesbian Center ephemera collection and the San Francisco Ephemera Collection, San Francisco Public Library; Collage by Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The AIDS Memorial Quilt\u003c/h2>\n\u003cp>While the \u003ca href=\"https://www.kqed.org/arts/13856309/how-the-aids-memorial-grove-became-the-true-heart-of-san-francisco\" target=\"_blank\" rel=\"noopener\">AIDS Memorial Grove\u003c/a> in Golden Gate Park is the nation’s official site of remembrance, the \u003ca href=\"https://www.aidsquilt.org/\" target=\"_blank\" rel=\"noopener\">AIDS Memorial Quilt\u003c/a>, a project that began in 1987 and now numbers over 48,000 individual panels, is its peripatetic one.\u003c/p>\n\u003cp>Each panel measures 3 by 6 feet, the approximate size of a grave. And each commemorates a family member or loved one lost to AIDS, hand-stitched with personal symbols, objects, names and dates. The first public display, in October 1987, took place on the Capitol Mall in Washington, D.C. with 1,920 panels. A year later, the quilt returned to Washington with more than 8,000 panels. Its goal was to impress upon the federal government—and the American people—the scale of the AIDS epidemic, and the desperate need for increased federal funds in the fight against it.\u003c/p>\n\u003cp>The brochure reads, “With the Quilt, we’re able to touch people in a new way and open their hearts so that they no longer turn away, but rather understand the value of all these lost lives.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the end of the 1980s, nine years after the CDC’s first reported cases, nearly 90,000 Americans had died of AIDS. Many more groups would form in the years to come to fight for more effective AIDS treatments and against the slow-moving bureaucracy that stifled such research. And many more actions would \u003ca href=\"https://youtu.be/hvKAIPOBWlY\" rel=\"noopener\" target=\"_blank\">directly confront the American public\u003c/a> with the scale of the crisis, skillfully using media coverage to amplify their message. But when no one was watching—or seemingly caring—the efforts of individuals and groups like those documented above made sure the American people and their government could no longer turn away from AIDS.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "meet-the-lgbtq-elders-who-rioted-organized-and-lobbied-to-change-history",
"title": "Meet the LGBTQ+ Elders Who Rioted, Organized and Lobbied to Change History",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Pride season is upon us, with its parties, parades and rainbow regalia. But none of it would be possible without the tireless advocacy and protest power of our LGBTQ+ elders. Their stories of fighting for queer and trans rights should be permanently ingrained in our memories and the memories of those to come.\u003c/p>\n\u003cp>That’s where Mason Funk comes in. In 2014, a question kept buzzing around his head: “How did I and millions of other LGBTQ+ people get from there to here?” Funk answered it by creating \u003ca href=\"https://www.theoutwordsarchive.org/\" target=\"_blank\" rel=\"noopener\">OUTWORDS\u003c/a>, a multi-media archive, and its accompanying \u003ca href=\"https://www.theoutwordsarchive.org/bookofpride\" target=\"_blank\" rel=\"noopener\">\u003cem>Book of Pride\u003c/em>\u003c/a> to tell the stories of LGBTQ+ pioneers.\u003c/p>\n\u003cp>The project includes over one hundred powerful interviews with subjects from all across the country. Here, we take a look at the stories of five changemakers featured in OUTWORDS, including a survivor of the Stonewall riots who isn’t afraid to curse; an activist who won marriage rights from the California Supreme Court; a housewife who turned in her white picket fence for the March on Washington stage; a Two-Spirit activist who battled prejudice on the ballot and within the medical community and won; and a Yoruba priest who devoted himself to educating his community about AIDS.\u003c/p>\n\u003ch2>Miss Major Griffin-Gracy\u003c/h2>\n\u003cfigure id=\"attachment_13859269\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13859269\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-01-at-12.49.26-AM-1020x572.png\" alt=\"Miss Major at a Pride Parade in San Francisco.\" width=\"640\" height=\"359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-01-at-12.49.26-AM-1020x572.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-01-at-12.49.26-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-01-at-12.49.26-AM-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-01-at-12.49.26-AM-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-01-at-12.49.26-AM-1200x673.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-01-at-12.49.26-AM-1920x1077.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-01-at-12.49.26-AM.png 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Miss Major at a Pride Parade in San Francisco. \u003ccite>(Photo courtesy of Miss Major)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’ve never heard Miss Major’s name, where have you been? The veteran of the Stonewall Rebellion has been making waves for over 40 years, fighting for incarcerated trans people through San Francisco’s \u003ca href=\"http://www.tgijp.org/\" target=\"_blank\" rel=\"noopener\">Trans, Gender-Variant and Intersex Justice Project\u003c/a> until her recent retirement. Her impact has been so—um—major that there’s \u003ca href=\"https://www.missmajorfilm.com/\" target=\"_blank\" rel=\"noopener\">an entire film\u003c/a> about it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The fighting spirit that made Miss Major famous has been with her since she was born so premature that she could fit in the palm of her father’s hand. “I’ve been a struggling bitch from the moment I took breath, fighting to hang in there and survive and be here, and make myself known,” she told OUTWORDS.\u003c/p>\n\u003cp>Born and raised in Chicago, Miss Major started secretly wearing her mother’s clothes and clip-clopping around the house in her heels around the age of 15. When her mother found out, she was beaten. When her school found out, she was expelled.\u003c/p>\n\u003cfigure id=\"attachment_13859270\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859270\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-1020x704.jpg\" alt=\"An elated Miss Major.\" width=\"300\" height=\"207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-1200x829.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-1920x1326.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4.jpg 1974w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">An elated Miss Major. \u003ccite>(Photo courtesy of Miss Major)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the ’60s, Miss Major found her way to New York, where the city’s rich diversity instantly proved to be a balm. Soon, she found a sense of community on the streets with fellow working girls. “Hooking at that time was a f-cking blessing,” she said. “The money was good. The johns were great.” But things eventually took a turn for the dangerous around 1967. Girls were turning up dead, and the police didn’t value their lives enough to investigate. So Miss Major and her friends started taking down license plate numbers, memorizing faces and crafting other methods of ensuring each other’s safety.\u003c/p>\n\u003cfigure id=\"attachment_13859271\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859271\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo1-1020x1328.jpg\" alt=\"Miss Major serving a look.\" width=\"300\" height=\"391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo1-1020x1328.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo1-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo1-800x1042.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo1-768x1000.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo1-922x1200.jpg 922w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo1.jpg 1573w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Miss Major serving a look. \u003ccite>(Photo courtesy of Miss Major)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sick of the mistreatment, Miss Major started carrying a hammer for protection; other girls carried knives. As she recalls, if a scuffle broke out, police let male instigators free and arrested the women for defending themselves. Miss Major became known as someone who would reliably accompany girls in trouble with the law to court (something she continued to do into her 70s).\u003c/p>\n\u003cp>In 1969, Miss Major frequented a Cheers-esque bar called Stonewall, where everyone knew her name and where she and her friends felt seen and understood. At the time, many aspects of queer and trans life were illegal, and police regularly raided the bar. They got more than they bargained for on June 28, 1969, when a group of fed-up people fought back. Miss Major was there. “I don’t remember a shoe, a brick, a bottle, a body, a garbage can,” she told OUTWORDS. “All I know is we were fighting for our life and we were kicking the cops’ ass.” That moment became the spark that ignited the modern-day LGBTQ+ rights movement.\u003c/p>\n\u003cp>\u003cspan style=\"color: #000000\">Until her recent retirement to Arizona, Miss Major continued to make a difference in the lives of working women in Oakland, whom she calls her babies. “I’ll take my cane and hobble across the street … and sit on the bench and talk to them,” she said. “The world doesn’t care about us. I want them all to know that somebody does.”\u003c/span>\u003c/p>\n\u003ch2>Marcus Arana\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=dBwvns4XH6g\u003c/p>\n\u003cp>Marcus Arana’s journey to becoming a Two-Spirit activist fighting for the rights of trans and intersex people can be traced all the way back to a movie theater. At four-years-old, he saw a blue fairy turn Pinocchio into a real boy. Assigned female at birth, Arana turned to his mother and asked for his own blue fairy. She explained that girls could never be boys. In that moment, Arana learned two things: that he was different and that he shouldn’t talk about it.\u003c/p>\n\u003cfigure id=\"attachment_13859275\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859275\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Arana_Mary_Photo12-1020x746.jpg\" alt=\"Arana at age 25 at a Halloween dance as a persona called Dread Weatherly.\" width=\"300\" height=\"219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Mary_Photo12-1020x746.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Mary_Photo12-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Mary_Photo12-800x585.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Mary_Photo12-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Mary_Photo12-1200x878.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Mary_Photo12.jpg 1519w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Arana at age 25 at a Halloween dance as a persona called Dread Weatherly. \u003ccite>(Photo courtesy of Marcus Arana)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he didn’t throughout a lonely and rough childhood, which forced him to leave home at age 14. He eventually came out as queer and moved to San Francisco in 1976, which felt “like the sun coming out and you can hear the munchkins singing as we all went down the yellow brick road.” But, just as Dorothy and her pals had to contend with the Wicked Witch of the West, Arana and other California gays faced off against their own villain: the Briggs Initiative, a \u003cspan style=\"color: #000000\">1978\u003c/span> ballot measure that, if passed, would ban gays and lesbians from working in public schools.\u003c/p>\n\u003cp>Inspired by California’s first openly gay public official, Harvey Milk, Arana committed himself to fighting back through protest, grassroots organizing and visibility, and the Briggs Initiative was defeated at the ballot box by 16.8 percent.\u003c/p>\n\u003cp>That wouldn’t be the last bit of change Arana had a hand in crafting. When he was 37 years old and working at Community United Against Violence, an organization dedicated to addressing violence against the LGBTQ+ community, Arana finally gave into the feeling that had been nagging him since he first saw \u003cem>Pinnochio\u003c/em>. In a staff meeting, he blurted out that he’s trans. “It was like squeezing a tube of toothpaste where all of this stuff comes out and you can’t cram it back in again, you can’t unring the bell,” he told OUTWORDS. “It was liberating, it was magic.”\u003c/p>\n\u003cfigure id=\"attachment_13859276\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859276\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Arana_Marcus_Photo6-1020x681.jpg\" alt=\"Arana at age 38, early in his transition, when he began to smile in pictures for the first time.\" width=\"300\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Marcus_Photo6-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Marcus_Photo6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Marcus_Photo6-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Marcus_Photo6-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Marcus_Photo6-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Marcus_Photo6.jpg 1785w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Arana at age 38, early in his transition, when he began to smile in pictures for the first time. \u003ccite>(Photo courtesy of Marcus Arana)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time of his transition, being trans was considered a gender identity disorder and treated like a psychological problem. Arana got back in the fight, educating commissioners, the Health Service Board, the San Francisco Board of Supervisors and ultimately, through television appearances, the American public about discrimination against trans people in the health industry. Through his education, hearts and minds slowly began to change, and with them, policies and laws.\u003c/p>\n\u003cp>But Arana’s proudest achievement as an advocate came in 2003 when he was working at the San Francisco Human Rights Commission as a discrimination investigator. Intersex activists came to him with stories of how those born with bodies that don’t readily fit into what society considers male or female were assigned a gender through non-consensual surgery at birth or during childhood (often without the input of the parents, let alone the patient). This usually necessitated even more surgeries down the line and spawned all kinds of future physical and mental issues.\u003c/p>\n\u003cp>In an effort to prevent any more suffering, Arana wrote a report for the HRC that declared the non-consensual “medical normalization” of intersex people a human rights violation. The report is now used internationally and has helped change the way the medical community views and supports intersex children.\u003c/p>\n\u003ch2>Lani Ka’ahumanu\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=LwG1NOG2y_Q\u003c/p>\n\u003cp>Lani Ka’ahumanu had to come out multiple times: first as someone who no longer wanted a white picket fence and a husband, then as a lesbian activist and finally as a bisexual carving out a space for people like her within the gay rights movement. The unexpected zigs and zags of her life shocked her friends and family, and even herself.\u003c/p>\n\u003cfigure id=\"attachment_13859279\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859279\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Ka%E2%80%99ahumanu_Lani_photo5-1020x1081.jpg\" alt=\"\" width=\"300\" height=\"318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo5-1020x1081.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo5-160x170.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo5-800x848.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo5-768x814.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo5-1132x1200.jpg 1132w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo5-1920x2035.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo5.jpg 1932w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Ka’ahumanu’s junior prom in 1959 with future husband, captain of the football team and champion wrestler. (That’s a mat burn from a wrestling match on his face.) \u003ccite>(Photo courtesy of Lani Ka'ahumanu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Growing up, Ka’ahumanu always knew what was expected of her: marry a man and have kids. And she played along for a while, falling in love with the captain of the football team, marrying him at 19 and having two kids by the time she was 24. But then she met a new friend who didn’t shave her legs and shared stories of the women’s rights movement. It wasn’t long before Ka’ahumanu changed her honorific from Mrs. to Ms., got involved with the anti-Vietnam War movement, started collecting food for the Black Panther Breakfast Program and boycotting grapes alongside the United Farm Workers.\u003c/p>\n\u003cp>In the late ’60s and early ’70s, Ka’ahumanu started crying a lot and couldn’t figure out why. She had the cookie-cutter picture of a full heterosexual life,\u003cspan style=\"color: #ff0000\"> \u003c/span>\u003cspan style=\"color: #ff0000\">\u003cspan style=\"color: #000000\">but something was missing.\u003c/span> \u003c/span>As hard as it was, with her husband’s support, she made the difficult decision to leave him and their kids behind and move to San Francisco. She enrolled at San Francisco State University, where she helped found the women’s studies department and came out as a lesbian.\u003c/p>\n\u003cfigure id=\"attachment_13859278\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13859278\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Ka%E2%80%99ahumanu_Lani_photo1-1020x753.jpg\" alt=\"Ka'ahumanu with BiPOL’s contingent at the 1984 SF Pride Parade, led by a red convertible w/ Mayor “Bi-anne Feinstein” and “Princess Bi” from UK waving.\" width=\"640\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo1-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo1-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo1-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo1-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo1-1200x886.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo1.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ka’ahumanu with BiPOL’s contingent at the 1984 SF Pride Parade, led by a red convertible with Mayor “Bi-anne Feinstein” and “Princess Bi” from UK waving. \u003ccite>(Photo courtesy of Lani Ka'ahumanu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You were becoming part of this growing community, this giant wave, and there was so much support, and a cheering section, literally,” she told OUTWORDS. But there were limits to that support when it came to people who identified as bisexual. Ka’ahumanu realizes now that, back then, she was part of the biphobia problem within the queer community, actively shunning bi women for having “too much privilege.”\u003c/p>\n\u003cp>Years later, while working as a chef at a new age, clothing-optional resort in Mendocino County, Ka’ahumanu met a younger man who wanted to chat about Adrienne Rich’s poetry. Cut to them hooking up in the storage room.\u003c/p>\n\u003cfigure id=\"attachment_13859281\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859281\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Ka_ahumanu_Lani_photo9-1020x1397.jpg\" alt=\"Ka'ahumanu was the only out bisexual invited to speak on the main stage at the 1993 March on Washington.\" width=\"300\" height=\"411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka_ahumanu_Lani_photo9-1020x1397.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka_ahumanu_Lani_photo9-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka_ahumanu_Lani_photo9-800x1096.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka_ahumanu_Lani_photo9-768x1052.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka_ahumanu_Lani_photo9-876x1200.jpg 876w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka_ahumanu_Lani_photo9.jpg 1495w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Ka’ahumanu was the only out bisexual invited to speak on the main stage at the 1993 March on Washington. \u003ccite>(Photo courtesy of Lani Ka'ahumanu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coming out as bisexual to her newfound community back in San Francisco was rough. Ka’ahumanu felt like “the lesbian who fell from grace” and that she had to prove that she wasn’t a traitor.\u003c/p>\n\u003cp>This experience inspired Ka’ahumanu to dedicate her activist muscle to organizing the bisexual community. She spent the latter part of the ’80s establishing an organization called BiPol to bring bi people from across the country together. From there, she planned the 1990 National Bisexual Conference and pushed for more visibility within the queer community, specifically having the word “bisexual” baked into the name of the March on Washington. In 1993, Ka’ahumanu and her cohorts won a partial victory. The word “bi” would be included, but only if the “sexual” was lopped off. When it came time to speak at the march, Ka’ahumanu realized she was delegated to the last slot out of 18 speakers. As she took the mic and said, “Aloha. It ain’t over ’til the bisexual speaks,” the stage behind her was actively being dismantled.\u003c/p>\n\u003cp>Even though that March on Washington wasn’t perfect, Ka’ahumanu still takes pride in all that she and her organization achieved. “We were at that national table. We did the work. We were there.”\u003c/p>\n\u003ch2>Blackberri\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=Aoo0BIzkXWM\u003c/p>\n\u003cp>AIDS educator. History-making musician. Uplifter of queer Black men. Yoruba priest. Blackberri is all of those things and more, and the seeds of his multi-faceted personality sprouted from the very beginning.\u003c/p>\n\u003cp style=\"text-align: left\">Growing up, Blackberri couldn’t get enough of music. He spent his time pretending to be a conductor in front of the radio, playing the harmonica or singing pop songs from his front stoop to the kids in his neighborhood. He also couldn’t get enough of sex. After his mom caught Blackberri and a friend with nothing but pillows in their laps, the mother and son had a heart-to-heart. “From that day on, that was my liberation notice,” Blackberri remembered in his OUTWORDS interview. “I became more flamboyant and more out and just totally unafraid.”\u003c/p>\n\u003cfigure id=\"attachment_13859282\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859282\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Blackberri_Photo5.jpeg\" alt=\"Blackberri in the Navy.\" width=\"300\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo5.jpeg 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo5-160x214.jpeg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Blackberri in the Navy. \u003ccite>(Photo courtesy of Blackberri)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years later, Blackberri was drafted into the military. He was initially interested in going into the Air Force, but changed his mind when he saw all the Navy boys’ bell bottoms and “nice round butts.” Dry-docked on the East Coast, there was plenty of time to get down. Blackberri narrowly avoided a dishonorable discharge for expressing his sexuality.\u003c/p>\n\u003cp>After his time in the military, Blackberri moved around, performing in Wales and spending some time at a feminist collective in Tuscon, Arizona where a lesbian called Hummingbird anointed him with his name (she thought he was dark and sweet).\u003c/p>\n\u003cfigure id=\"attachment_13859283\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Blackberri_Photo4-1020x1495.jpg\" alt=\"Blackberri performing at the Wilshire Ebell Theatre.\" width=\"300\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo4-1020x1495.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo4-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo4-800x1172.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo4-768x1126.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo4-819x1200.jpg 819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo4.jpg 1044w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Blackberri performing at the Wilshire Ebell Theatre. \u003ccite>(Photo courtesy of Blackberri)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music eventually brought him to the Bay Area, where he wrote songs with lyrics like, “You’re such a beautiful black man / But you walk with your head bent and low / Don’t do that anymore / I see the beauty I wish that you knew.” In 1975, he made history on KQED airwaves by starring in a concert called \u003cem>Two Songmakers\u003c/em>, which marked the first time music about the gay experience was featured on public television in San Francisco.\u003c/p>\n\u003cp>Blackberri’s career as a singer-songwriter eventually took a back seat due to the AIDS epidemic. Blackberri worked in the AIDS ward at San Francisco General as a death and dying counselor with \u003ca href=\"http://www.shanti.org/\" target=\"_blank\" rel=\"noopener\">the Shanti Project\u003c/a>. Witnessing the effects of the disease inspired Blackberri to shift his focus to prevention, specifically as it pertained to the black community.\u003c/p>\n\u003cfigure id=\"attachment_13859284\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Blackberri_Photo7-1020x1292.jpg\" alt=\"Blackberri and his guitar.\" width=\"300\" height=\"380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo7-1020x1292.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo7-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo7-800x1013.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo7-768x973.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo7-947x1200.jpg 947w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo7.jpg 1617w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Blackberri and his guitar. \u003ccite>(Photo courtesy of Blackberri)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Black people have always been negroes, always been considered ugly,” he said to OUTWORDS. “So there’s a lot of internalized stuff around how we look, how we are, our hair, our lips. Some people buy into it and that internalized self-hatred has driven the AIDS epidemic. People didn’t feel they were important enough to take care of themselves.”\u003c/p>\n\u003cp>Through workshops, field trips, film screenings, meals, affirmations, meditations and visualizations, Blackberri helped build people up, made them feel special and convinced them that they were worth saving.\u003c/p>\n\u003cp>Thanks to the work of Blackberri and people like him, the LGBTQ+ community is in a better place than it was during the worst days of the AIDS epidemic. But we still have fights ahead. And the only way we win them, according to Blackberri, is if all marginalized communities stick together and show up for each other. “Until we build alliances, we’re not gonna go anywhere,” he said. “When all the fingers close, then you have a fist.”\u003c/p>\n\u003ch2>\u003cstrong>Jewelle Gomez\u003c/strong>\u003c/h2>\n\u003cfigure id=\"attachment_13859285\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13859285\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo3-1020x1450.jpg\" alt=\"Jewelle Gomez at NYC Pride in 1989.\" width=\"640\" height=\"910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo3-1020x1450.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo3-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo3-800x1137.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo3-768x1092.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo3-844x1200.jpg 844w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo3.jpg 1441w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jewelle Gomez at NYC Pride in 1989. \u003ccite>(Photo courtesy of Jewelle Gomez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From combatting media bias against gay men during the AIDS crisis to challenging discriminatory marriage laws, Jewelle Gomez has dedicated her life to standing up against injustice. She got her first up-close look at bigotry in her youth.\u003c/p>\n\u003cp>For the most part, Gomez lived a quiet, happy childhood with her great-grandmother in Massachusetts. But that changed when Gomez visited her mother’s home in a faraway mill town and learning an ugly truth about this country. Because of her mother’s lighter complexion, her neighbors assumed she was white. When they saw Gomez, her grandmother and her great-grandmother, “it became this horror show,” she told OUTWORDS. “People burned trash on their front yard, threw bricks through their window, called with threatening phone calls day and night.” The harassment continued until the 95 Interstate cut through the neighborhood, forcing everyone to move.\u003c/p>\n\u003cp>The experience instilled an internalized racism in her mother, who didn’t approve when Gomez stopped straightening her hair and got involved with African-American culture. But for Gomez, it was a call to fight back against intolerance by being fully herself.\u003c/p>\n\u003cfigure id=\"attachment_13859286\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859286\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo1-1020x664.jpg\" alt=\"Jewelle Gomez with family in Boston in 1948.\" width=\"300\" height=\"195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo1-1020x664.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo1-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo1-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo1-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo1-1200x782.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo1-1920x1251.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo1.jpg 2048w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Jewelle Gomez with family in Boston in 1948. \u003ccite>(Photo courtesy of Jewelle Gomez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After defending herself from a particularly egregious instance of street harassment, Gomez channeled her rage into a novel called \u003cem>The Gilda Stories\u003c/em> about a queer vampire, which was published in 1991 with the help of mentor Audre Lorde.\u003c/p>\n\u003cfigure id=\"attachment_13859287\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859287\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo2--1020x847.jpg\" alt=\"Jewelle Gomez with Audre Lorde, filming 'Before Stonewall' in 1984.\" width=\"300\" height=\"249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo2--1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo2--160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo2--800x664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo2--768x638.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo2--1200x997.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo2--1920x1595.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo2-.jpg 2048w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Jewelle Gomez with Audre Lorde, filming ‘Before Stonewall’ in 1984. \u003ccite>(Photo courtesy of Jewelle Gomez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"color: #000000\">In the 1985, Gomez became one of the founders of Gay and Lesbian Alliance Against Defamation (GLAAD), now one of the country’s most prominent LGBTQ+ organizations. \u003c/span>When the mainstream media covered the AIDS epidemic by focusing on what was “wrong” with gay culture—the sex, the bathhouses—Gomez and other GLAAD founders protested the demonization. In 1987, they landed the first editorial meeting that \u003cem>The\u003c/em> \u003cem>New York Times\u003c/em> held with a gay organization, and worked with them on changing the national conversation. For Gomez, that moment was proof of the LGBTQ+ community’s capacity to join together and take back power.\u003c/p>\n\u003cp>Decades later, another battle was brewing: the one around marriage equality. While Gomez always had misgiving around the institution of marriage, as it was designed to keep women in their place, she and her partner agreed to become litigants in the ACLU and NCLR suit against the State of California. After spending four years on the campaign trail, telling her story and advocating for equal treatment under the law, the Supreme Court ruled in their favor in 2008, a feat that had seemed impossible just a few years prior.\u003c/p>\n\u003cfigure id=\"attachment_13859288\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859288\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo14_w-spouse-Diane-Sabin-by-Irene-Young-2013-1020x683.jpg\" alt=\"Jewelle Gomez with spouse Diane Sabin in 2013. \" width=\"300\" height=\"201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo14_w-spouse-Diane-Sabin-by-Irene-Young-2013-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo14_w-spouse-Diane-Sabin-by-Irene-Young-2013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo14_w-spouse-Diane-Sabin-by-Irene-Young-2013-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo14_w-spouse-Diane-Sabin-by-Irene-Young-2013-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo14_w-spouse-Diane-Sabin-by-Irene-Young-2013-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo14_w-spouse-Diane-Sabin-by-Irene-Young-2013-1920x1285.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo14_w-spouse-Diane-Sabin-by-Irene-Young-2013.jpg 2048w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Jewelle Gomez with spouse Diane Sabin in 2013. \u003ccite>(Irene Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"color: #000000\">Through her fiction, her advocacy and sharing her life story through projects like OUTWORDS, Gomez hopes to continue bridging the gaps between communities, “whether that means a person who lives in Idaho who’s never met a black lesbian or a person who lives in New York City who’s too cool to hang out with an old lesbian.”\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>More information on Mason Funk’s The Book of Pride and OUTWORDS’ digital platform can be found \u003ca href=\"https://www.theoutwordsarchive.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "From the Stonewall riots to the 1993 March on Washington, these LGBTQ+ pioneers paved the way. ",
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"title": "Meet the LGBTQ+ Elders Who Rioted, Organized and Lobbied to Change History | KQED",
"description": "From the Stonewall riots to the 1993 March on Washington, these LGBTQ+ pioneers paved the way. ",
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"headline": "Meet the LGBTQ+ Elders Who Rioted, Organized and Lobbied to Change History",
"datePublished": "2019-06-10T12:45:13-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Pride season is upon us, with its parties, parades and rainbow regalia. But none of it would be possible without the tireless advocacy and protest power of our LGBTQ+ elders. Their stories of fighting for queer and trans rights should be permanently ingrained in our memories and the memories of those to come.\u003c/p>\n\u003cp>That’s where Mason Funk comes in. In 2014, a question kept buzzing around his head: “How did I and millions of other LGBTQ+ people get from there to here?” Funk answered it by creating \u003ca href=\"https://www.theoutwordsarchive.org/\" target=\"_blank\" rel=\"noopener\">OUTWORDS\u003c/a>, a multi-media archive, and its accompanying \u003ca href=\"https://www.theoutwordsarchive.org/bookofpride\" target=\"_blank\" rel=\"noopener\">\u003cem>Book of Pride\u003c/em>\u003c/a> to tell the stories of LGBTQ+ pioneers.\u003c/p>\n\u003cp>The project includes over one hundred powerful interviews with subjects from all across the country. Here, we take a look at the stories of five changemakers featured in OUTWORDS, including a survivor of the Stonewall riots who isn’t afraid to curse; an activist who won marriage rights from the California Supreme Court; a housewife who turned in her white picket fence for the March on Washington stage; a Two-Spirit activist who battled prejudice on the ballot and within the medical community and won; and a Yoruba priest who devoted himself to educating his community about AIDS.\u003c/p>\n\u003ch2>Miss Major Griffin-Gracy\u003c/h2>\n\u003cfigure id=\"attachment_13859269\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13859269\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-01-at-12.49.26-AM-1020x572.png\" alt=\"Miss Major at a Pride Parade in San Francisco.\" width=\"640\" height=\"359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-01-at-12.49.26-AM-1020x572.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-01-at-12.49.26-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-01-at-12.49.26-AM-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-01-at-12.49.26-AM-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-01-at-12.49.26-AM-1200x673.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-01-at-12.49.26-AM-1920x1077.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-01-at-12.49.26-AM.png 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Miss Major at a Pride Parade in San Francisco. \u003ccite>(Photo courtesy of Miss Major)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’ve never heard Miss Major’s name, where have you been? The veteran of the Stonewall Rebellion has been making waves for over 40 years, fighting for incarcerated trans people through San Francisco’s \u003ca href=\"http://www.tgijp.org/\" target=\"_blank\" rel=\"noopener\">Trans, Gender-Variant and Intersex Justice Project\u003c/a> until her recent retirement. Her impact has been so—um—major that there’s \u003ca href=\"https://www.missmajorfilm.com/\" target=\"_blank\" rel=\"noopener\">an entire film\u003c/a> about it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The fighting spirit that made Miss Major famous has been with her since she was born so premature that she could fit in the palm of her father’s hand. “I’ve been a struggling bitch from the moment I took breath, fighting to hang in there and survive and be here, and make myself known,” she told OUTWORDS.\u003c/p>\n\u003cp>Born and raised in Chicago, Miss Major started secretly wearing her mother’s clothes and clip-clopping around the house in her heels around the age of 15. When her mother found out, she was beaten. When her school found out, she was expelled.\u003c/p>\n\u003cfigure id=\"attachment_13859270\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859270\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-1020x704.jpg\" alt=\"An elated Miss Major.\" width=\"300\" height=\"207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-1200x829.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-1920x1326.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4.jpg 1974w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">An elated Miss Major. \u003ccite>(Photo courtesy of Miss Major)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the ’60s, Miss Major found her way to New York, where the city’s rich diversity instantly proved to be a balm. Soon, she found a sense of community on the streets with fellow working girls. “Hooking at that time was a f-cking blessing,” she said. “The money was good. The johns were great.” But things eventually took a turn for the dangerous around 1967. Girls were turning up dead, and the police didn’t value their lives enough to investigate. So Miss Major and her friends started taking down license plate numbers, memorizing faces and crafting other methods of ensuring each other’s safety.\u003c/p>\n\u003cfigure id=\"attachment_13859271\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859271\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo1-1020x1328.jpg\" alt=\"Miss Major serving a look.\" width=\"300\" height=\"391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo1-1020x1328.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo1-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo1-800x1042.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo1-768x1000.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo1-922x1200.jpg 922w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo1.jpg 1573w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Miss Major serving a look. \u003ccite>(Photo courtesy of Miss Major)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sick of the mistreatment, Miss Major started carrying a hammer for protection; other girls carried knives. As she recalls, if a scuffle broke out, police let male instigators free and arrested the women for defending themselves. Miss Major became known as someone who would reliably accompany girls in trouble with the law to court (something she continued to do into her 70s).\u003c/p>\n\u003cp>In 1969, Miss Major frequented a Cheers-esque bar called Stonewall, where everyone knew her name and where she and her friends felt seen and understood. At the time, many aspects of queer and trans life were illegal, and police regularly raided the bar. They got more than they bargained for on June 28, 1969, when a group of fed-up people fought back. Miss Major was there. “I don’t remember a shoe, a brick, a bottle, a body, a garbage can,” she told OUTWORDS. “All I know is we were fighting for our life and we were kicking the cops’ ass.” That moment became the spark that ignited the modern-day LGBTQ+ rights movement.\u003c/p>\n\u003cp>\u003cspan style=\"color: #000000\">Until her recent retirement to Arizona, Miss Major continued to make a difference in the lives of working women in Oakland, whom she calls her babies. “I’ll take my cane and hobble across the street … and sit on the bench and talk to them,” she said. “The world doesn’t care about us. I want them all to know that somebody does.”\u003c/span>\u003c/p>\n\u003ch2>Marcus Arana\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dBwvns4XH6g'\n title='//www.youtube.com/embed/dBwvns4XH6g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Marcus Arana’s journey to becoming a Two-Spirit activist fighting for the rights of trans and intersex people can be traced all the way back to a movie theater. At four-years-old, he saw a blue fairy turn Pinocchio into a real boy. Assigned female at birth, Arana turned to his mother and asked for his own blue fairy. She explained that girls could never be boys. In that moment, Arana learned two things: that he was different and that he shouldn’t talk about it.\u003c/p>\n\u003cfigure id=\"attachment_13859275\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859275\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Arana_Mary_Photo12-1020x746.jpg\" alt=\"Arana at age 25 at a Halloween dance as a persona called Dread Weatherly.\" width=\"300\" height=\"219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Mary_Photo12-1020x746.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Mary_Photo12-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Mary_Photo12-800x585.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Mary_Photo12-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Mary_Photo12-1200x878.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Mary_Photo12.jpg 1519w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Arana at age 25 at a Halloween dance as a persona called Dread Weatherly. \u003ccite>(Photo courtesy of Marcus Arana)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he didn’t throughout a lonely and rough childhood, which forced him to leave home at age 14. He eventually came out as queer and moved to San Francisco in 1976, which felt “like the sun coming out and you can hear the munchkins singing as we all went down the yellow brick road.” But, just as Dorothy and her pals had to contend with the Wicked Witch of the West, Arana and other California gays faced off against their own villain: the Briggs Initiative, a \u003cspan style=\"color: #000000\">1978\u003c/span> ballot measure that, if passed, would ban gays and lesbians from working in public schools.\u003c/p>\n\u003cp>Inspired by California’s first openly gay public official, Harvey Milk, Arana committed himself to fighting back through protest, grassroots organizing and visibility, and the Briggs Initiative was defeated at the ballot box by 16.8 percent.\u003c/p>\n\u003cp>That wouldn’t be the last bit of change Arana had a hand in crafting. When he was 37 years old and working at Community United Against Violence, an organization dedicated to addressing violence against the LGBTQ+ community, Arana finally gave into the feeling that had been nagging him since he first saw \u003cem>Pinnochio\u003c/em>. In a staff meeting, he blurted out that he’s trans. “It was like squeezing a tube of toothpaste where all of this stuff comes out and you can’t cram it back in again, you can’t unring the bell,” he told OUTWORDS. “It was liberating, it was magic.”\u003c/p>\n\u003cfigure id=\"attachment_13859276\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859276\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Arana_Marcus_Photo6-1020x681.jpg\" alt=\"Arana at age 38, early in his transition, when he began to smile in pictures for the first time.\" width=\"300\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Marcus_Photo6-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Marcus_Photo6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Marcus_Photo6-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Marcus_Photo6-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Marcus_Photo6-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Arana_Marcus_Photo6.jpg 1785w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Arana at age 38, early in his transition, when he began to smile in pictures for the first time. \u003ccite>(Photo courtesy of Marcus Arana)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time of his transition, being trans was considered a gender identity disorder and treated like a psychological problem. Arana got back in the fight, educating commissioners, the Health Service Board, the San Francisco Board of Supervisors and ultimately, through television appearances, the American public about discrimination against trans people in the health industry. Through his education, hearts and minds slowly began to change, and with them, policies and laws.\u003c/p>\n\u003cp>But Arana’s proudest achievement as an advocate came in 2003 when he was working at the San Francisco Human Rights Commission as a discrimination investigator. Intersex activists came to him with stories of how those born with bodies that don’t readily fit into what society considers male or female were assigned a gender through non-consensual surgery at birth or during childhood (often without the input of the parents, let alone the patient). This usually necessitated even more surgeries down the line and spawned all kinds of future physical and mental issues.\u003c/p>\n\u003cp>In an effort to prevent any more suffering, Arana wrote a report for the HRC that declared the non-consensual “medical normalization” of intersex people a human rights violation. The report is now used internationally and has helped change the way the medical community views and supports intersex children.\u003c/p>\n\u003ch2>Lani Ka’ahumanu\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LwG1NOG2y_Q'\n title='//www.youtube.com/embed/LwG1NOG2y_Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lani Ka’ahumanu had to come out multiple times: first as someone who no longer wanted a white picket fence and a husband, then as a lesbian activist and finally as a bisexual carving out a space for people like her within the gay rights movement. The unexpected zigs and zags of her life shocked her friends and family, and even herself.\u003c/p>\n\u003cfigure id=\"attachment_13859279\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859279\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Ka%E2%80%99ahumanu_Lani_photo5-1020x1081.jpg\" alt=\"\" width=\"300\" height=\"318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo5-1020x1081.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo5-160x170.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo5-800x848.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo5-768x814.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo5-1132x1200.jpg 1132w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo5-1920x2035.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo5.jpg 1932w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Ka’ahumanu’s junior prom in 1959 with future husband, captain of the football team and champion wrestler. (That’s a mat burn from a wrestling match on his face.) \u003ccite>(Photo courtesy of Lani Ka'ahumanu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Growing up, Ka’ahumanu always knew what was expected of her: marry a man and have kids. And she played along for a while, falling in love with the captain of the football team, marrying him at 19 and having two kids by the time she was 24. But then she met a new friend who didn’t shave her legs and shared stories of the women’s rights movement. It wasn’t long before Ka’ahumanu changed her honorific from Mrs. to Ms., got involved with the anti-Vietnam War movement, started collecting food for the Black Panther Breakfast Program and boycotting grapes alongside the United Farm Workers.\u003c/p>\n\u003cp>In the late ’60s and early ’70s, Ka’ahumanu started crying a lot and couldn’t figure out why. She had the cookie-cutter picture of a full heterosexual life,\u003cspan style=\"color: #ff0000\"> \u003c/span>\u003cspan style=\"color: #ff0000\">\u003cspan style=\"color: #000000\">but something was missing.\u003c/span> \u003c/span>As hard as it was, with her husband’s support, she made the difficult decision to leave him and their kids behind and move to San Francisco. She enrolled at San Francisco State University, where she helped found the women’s studies department and came out as a lesbian.\u003c/p>\n\u003cfigure id=\"attachment_13859278\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13859278\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Ka%E2%80%99ahumanu_Lani_photo1-1020x753.jpg\" alt=\"Ka'ahumanu with BiPOL’s contingent at the 1984 SF Pride Parade, led by a red convertible w/ Mayor “Bi-anne Feinstein” and “Princess Bi” from UK waving.\" width=\"640\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo1-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo1-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo1-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo1-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo1-1200x886.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka’ahumanu_Lani_photo1.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ka’ahumanu with BiPOL’s contingent at the 1984 SF Pride Parade, led by a red convertible with Mayor “Bi-anne Feinstein” and “Princess Bi” from UK waving. \u003ccite>(Photo courtesy of Lani Ka'ahumanu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You were becoming part of this growing community, this giant wave, and there was so much support, and a cheering section, literally,” she told OUTWORDS. But there were limits to that support when it came to people who identified as bisexual. Ka’ahumanu realizes now that, back then, she was part of the biphobia problem within the queer community, actively shunning bi women for having “too much privilege.”\u003c/p>\n\u003cp>Years later, while working as a chef at a new age, clothing-optional resort in Mendocino County, Ka’ahumanu met a younger man who wanted to chat about Adrienne Rich’s poetry. Cut to them hooking up in the storage room.\u003c/p>\n\u003cfigure id=\"attachment_13859281\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859281\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Ka_ahumanu_Lani_photo9-1020x1397.jpg\" alt=\"Ka'ahumanu was the only out bisexual invited to speak on the main stage at the 1993 March on Washington.\" width=\"300\" height=\"411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka_ahumanu_Lani_photo9-1020x1397.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka_ahumanu_Lani_photo9-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka_ahumanu_Lani_photo9-800x1096.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka_ahumanu_Lani_photo9-768x1052.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka_ahumanu_Lani_photo9-876x1200.jpg 876w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Ka_ahumanu_Lani_photo9.jpg 1495w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Ka’ahumanu was the only out bisexual invited to speak on the main stage at the 1993 March on Washington. \u003ccite>(Photo courtesy of Lani Ka'ahumanu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coming out as bisexual to her newfound community back in San Francisco was rough. Ka’ahumanu felt like “the lesbian who fell from grace” and that she had to prove that she wasn’t a traitor.\u003c/p>\n\u003cp>This experience inspired Ka’ahumanu to dedicate her activist muscle to organizing the bisexual community. She spent the latter part of the ’80s establishing an organization called BiPol to bring bi people from across the country together. From there, she planned the 1990 National Bisexual Conference and pushed for more visibility within the queer community, specifically having the word “bisexual” baked into the name of the March on Washington. In 1993, Ka’ahumanu and her cohorts won a partial victory. The word “bi” would be included, but only if the “sexual” was lopped off. When it came time to speak at the march, Ka’ahumanu realized she was delegated to the last slot out of 18 speakers. As she took the mic and said, “Aloha. It ain’t over ’til the bisexual speaks,” the stage behind her was actively being dismantled.\u003c/p>\n\u003cp>Even though that March on Washington wasn’t perfect, Ka’ahumanu still takes pride in all that she and her organization achieved. “We were at that national table. We did the work. We were there.”\u003c/p>\n\u003ch2>Blackberri\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Aoo0BIzkXWM'\n title='//www.youtube.com/embed/Aoo0BIzkXWM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>AIDS educator. History-making musician. Uplifter of queer Black men. Yoruba priest. Blackberri is all of those things and more, and the seeds of his multi-faceted personality sprouted from the very beginning.\u003c/p>\n\u003cp style=\"text-align: left\">Growing up, Blackberri couldn’t get enough of music. He spent his time pretending to be a conductor in front of the radio, playing the harmonica or singing pop songs from his front stoop to the kids in his neighborhood. He also couldn’t get enough of sex. After his mom caught Blackberri and a friend with nothing but pillows in their laps, the mother and son had a heart-to-heart. “From that day on, that was my liberation notice,” Blackberri remembered in his OUTWORDS interview. “I became more flamboyant and more out and just totally unafraid.”\u003c/p>\n\u003cfigure id=\"attachment_13859282\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859282\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Blackberri_Photo5.jpeg\" alt=\"Blackberri in the Navy.\" width=\"300\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo5.jpeg 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo5-160x214.jpeg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Blackberri in the Navy. \u003ccite>(Photo courtesy of Blackberri)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years later, Blackberri was drafted into the military. He was initially interested in going into the Air Force, but changed his mind when he saw all the Navy boys’ bell bottoms and “nice round butts.” Dry-docked on the East Coast, there was plenty of time to get down. Blackberri narrowly avoided a dishonorable discharge for expressing his sexuality.\u003c/p>\n\u003cp>After his time in the military, Blackberri moved around, performing in Wales and spending some time at a feminist collective in Tuscon, Arizona where a lesbian called Hummingbird anointed him with his name (she thought he was dark and sweet).\u003c/p>\n\u003cfigure id=\"attachment_13859283\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Blackberri_Photo4-1020x1495.jpg\" alt=\"Blackberri performing at the Wilshire Ebell Theatre.\" width=\"300\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo4-1020x1495.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo4-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo4-800x1172.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo4-768x1126.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo4-819x1200.jpg 819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo4.jpg 1044w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Blackberri performing at the Wilshire Ebell Theatre. \u003ccite>(Photo courtesy of Blackberri)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music eventually brought him to the Bay Area, where he wrote songs with lyrics like, “You’re such a beautiful black man / But you walk with your head bent and low / Don’t do that anymore / I see the beauty I wish that you knew.” In 1975, he made history on KQED airwaves by starring in a concert called \u003cem>Two Songmakers\u003c/em>, which marked the first time music about the gay experience was featured on public television in San Francisco.\u003c/p>\n\u003cp>Blackberri’s career as a singer-songwriter eventually took a back seat due to the AIDS epidemic. Blackberri worked in the AIDS ward at San Francisco General as a death and dying counselor with \u003ca href=\"http://www.shanti.org/\" target=\"_blank\" rel=\"noopener\">the Shanti Project\u003c/a>. Witnessing the effects of the disease inspired Blackberri to shift his focus to prevention, specifically as it pertained to the black community.\u003c/p>\n\u003cfigure id=\"attachment_13859284\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Blackberri_Photo7-1020x1292.jpg\" alt=\"Blackberri and his guitar.\" width=\"300\" height=\"380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo7-1020x1292.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo7-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo7-800x1013.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo7-768x973.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo7-947x1200.jpg 947w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Blackberri_Photo7.jpg 1617w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Blackberri and his guitar. \u003ccite>(Photo courtesy of Blackberri)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Black people have always been negroes, always been considered ugly,” he said to OUTWORDS. “So there’s a lot of internalized stuff around how we look, how we are, our hair, our lips. Some people buy into it and that internalized self-hatred has driven the AIDS epidemic. People didn’t feel they were important enough to take care of themselves.”\u003c/p>\n\u003cp>Through workshops, field trips, film screenings, meals, affirmations, meditations and visualizations, Blackberri helped build people up, made them feel special and convinced them that they were worth saving.\u003c/p>\n\u003cp>Thanks to the work of Blackberri and people like him, the LGBTQ+ community is in a better place than it was during the worst days of the AIDS epidemic. But we still have fights ahead. And the only way we win them, according to Blackberri, is if all marginalized communities stick together and show up for each other. “Until we build alliances, we’re not gonna go anywhere,” he said. “When all the fingers close, then you have a fist.”\u003c/p>\n\u003ch2>\u003cstrong>Jewelle Gomez\u003c/strong>\u003c/h2>\n\u003cfigure id=\"attachment_13859285\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13859285\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo3-1020x1450.jpg\" alt=\"Jewelle Gomez at NYC Pride in 1989.\" width=\"640\" height=\"910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo3-1020x1450.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo3-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo3-800x1137.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo3-768x1092.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo3-844x1200.jpg 844w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo3.jpg 1441w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jewelle Gomez at NYC Pride in 1989. \u003ccite>(Photo courtesy of Jewelle Gomez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From combatting media bias against gay men during the AIDS crisis to challenging discriminatory marriage laws, Jewelle Gomez has dedicated her life to standing up against injustice. She got her first up-close look at bigotry in her youth.\u003c/p>\n\u003cp>For the most part, Gomez lived a quiet, happy childhood with her great-grandmother in Massachusetts. But that changed when Gomez visited her mother’s home in a faraway mill town and learning an ugly truth about this country. Because of her mother’s lighter complexion, her neighbors assumed she was white. When they saw Gomez, her grandmother and her great-grandmother, “it became this horror show,” she told OUTWORDS. “People burned trash on their front yard, threw bricks through their window, called with threatening phone calls day and night.” The harassment continued until the 95 Interstate cut through the neighborhood, forcing everyone to move.\u003c/p>\n\u003cp>The experience instilled an internalized racism in her mother, who didn’t approve when Gomez stopped straightening her hair and got involved with African-American culture. But for Gomez, it was a call to fight back against intolerance by being fully herself.\u003c/p>\n\u003cfigure id=\"attachment_13859286\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859286\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo1-1020x664.jpg\" alt=\"Jewelle Gomez with family in Boston in 1948.\" width=\"300\" height=\"195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo1-1020x664.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo1-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo1-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo1-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo1-1200x782.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo1-1920x1251.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo1.jpg 2048w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Jewelle Gomez with family in Boston in 1948. \u003ccite>(Photo courtesy of Jewelle Gomez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After defending herself from a particularly egregious instance of street harassment, Gomez channeled her rage into a novel called \u003cem>The Gilda Stories\u003c/em> about a queer vampire, which was published in 1991 with the help of mentor Audre Lorde.\u003c/p>\n\u003cfigure id=\"attachment_13859287\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859287\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo2--1020x847.jpg\" alt=\"Jewelle Gomez with Audre Lorde, filming 'Before Stonewall' in 1984.\" width=\"300\" height=\"249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo2--1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo2--160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo2--800x664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo2--768x638.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo2--1200x997.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo2--1920x1595.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo2-.jpg 2048w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Jewelle Gomez with Audre Lorde, filming ‘Before Stonewall’ in 1984. \u003ccite>(Photo courtesy of Jewelle Gomez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"color: #000000\">In the 1985, Gomez became one of the founders of Gay and Lesbian Alliance Against Defamation (GLAAD), now one of the country’s most prominent LGBTQ+ organizations. \u003c/span>When the mainstream media covered the AIDS epidemic by focusing on what was “wrong” with gay culture—the sex, the bathhouses—Gomez and other GLAAD founders protested the demonization. In 1987, they landed the first editorial meeting that \u003cem>The\u003c/em> \u003cem>New York Times\u003c/em> held with a gay organization, and worked with them on changing the national conversation. For Gomez, that moment was proof of the LGBTQ+ community’s capacity to join together and take back power.\u003c/p>\n\u003cp>Decades later, another battle was brewing: the one around marriage equality. While Gomez always had misgiving around the institution of marriage, as it was designed to keep women in their place, she and her partner agreed to become litigants in the ACLU and NCLR suit against the State of California. After spending four years on the campaign trail, telling her story and advocating for equal treatment under the law, the Supreme Court ruled in their favor in 2008, a feat that had seemed impossible just a few years prior.\u003c/p>\n\u003cfigure id=\"attachment_13859288\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13859288\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo14_w-spouse-Diane-Sabin-by-Irene-Young-2013-1020x683.jpg\" alt=\"Jewelle Gomez with spouse Diane Sabin in 2013. \" width=\"300\" height=\"201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo14_w-spouse-Diane-Sabin-by-Irene-Young-2013-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo14_w-spouse-Diane-Sabin-by-Irene-Young-2013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo14_w-spouse-Diane-Sabin-by-Irene-Young-2013-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo14_w-spouse-Diane-Sabin-by-Irene-Young-2013-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo14_w-spouse-Diane-Sabin-by-Irene-Young-2013-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo14_w-spouse-Diane-Sabin-by-Irene-Young-2013-1920x1285.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Gomez_Jewelle_photo14_w-spouse-Diane-Sabin-by-Irene-Young-2013.jpg 2048w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Jewelle Gomez with spouse Diane Sabin in 2013. \u003ccite>(Irene Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"color: #000000\">Through her fiction, her advocacy and sharing her life story through projects like OUTWORDS, Gomez hopes to continue bridging the gaps between communities, “whether that means a person who lives in Idaho who’s never met a black lesbian or a person who lives in New York City who’s too cool to hang out with an old lesbian.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>More information on Mason Funk’s The Book of Pride and OUTWORDS’ digital platform can be found \u003ca href=\"https://www.theoutwordsarchive.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "how-the-trans-community-reclaimed-its-rightful-place-at-pride",
"title": "How the Trans Community Reclaimed Its Rightful Place at Pride",
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"headTitle": "How the Trans Community Reclaimed Its Rightful Place at Pride | KQED",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Mia Satya’s first \u003ca href=\"https://www.transmarch.org/\" target=\"_blank\" rel=\"noopener\">Trans March\u003c/a> was revolutionary.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> In 2010, Satya was new to the Bay Area, having come to San Francisco to escape the transphobia she experienced in Texas, where she was born. She was attending the Trans March as part of the group Trans Ladies Initiating Sisterhood, and she was about to dance in front of thousands of people for the first time ever. [aside postid='arts_13858290']\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Satya had never before had a chance like this. Dancing as her true self was an important way of defying the transphobia she’d encountered in her home state, and she was doing it in front 5,000 cheering people who were celebrating her transgender identity. “It was a life-changing opportunity,” she says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size='large' align='right' citation='Mia Satya of the San Francisco LGBT Center']“\u003cspan class=\"s1\">We’ll keep marching until we don’t have to any more.”[/pullquote]\u003c/span>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Now an employment services coordinator with the \u003ca href=\"https://www.sfcenter.org/\" target=\"_blank\" rel=\"noopener\">San Francisco LGBT Center\u003c/a>, Satya advocates for transgender people in multiple ways, including helping facilitate the Trans March every year. She also staffs the LGBT Center’s booth in the march’s resource fair, where she meets new members of the community, engages with clients the center may have lost touch with, builds connections with businesses that want to hire more trans people and spreads the word about its trans employment program. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Satya says that “all hands are on deck” for the Trans March, which takes place on June 28 this year. For the SF LGBT Center, which also supports the central Pride March and the Dyke March, being at the Trans March is a way of making a clear statement of its commitment to the transgender community. Despite great advances since the first Trans March in 2004, many trans people still feel excluded from Pride and from LGBTQ+ communities in San Francisco. The “LBG” movement has not always been inclusive to the “T,” so the LGBT Center is one of many organizations that prioritizes sending a message of openness and collaboration.\u003c/span>\u003c/p>\n\u003ch2>The fight for trans inclusion at Pride\u003c/h2>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Nowadays the Trans March is an essential part of Pride, lasting an entire day and featuring a youth and elder brunch, resource fair, transformation booth, speakers and performances. But it wasn’t always like this. [aside postid='arts_13844019']\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Though trans women of color like \u003ca href=\"https://www.kqed.org/arts/13844019/ah-mer-ah-sus-major-soundtrack-feeds-the-spirit-of-trans-resistance\" target=\"_blank\" rel=\"noopener\">Miss Major Griffin-Gracy\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Sylvia_Rivera\" target=\"_blank\" rel=\"noopener\">Sylvia Rivera\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Marsha_P._Johnson\" target=\"_blank\" rel=\"noopener\">Marsha P. Johnson\u003c/a> played an essential role in the Stonewall uprising of 1969—a riot against police brutality in New York City that sparked the modern-day gay rights movement—by the early 1970s, when Pride first came together, there was no particular space for people who wanted to celebrate transgender identity. In fact, the gay, lesbian and bisexual community often discriminated against trans people. This is reflective of the era, as transgender people were grossly misunderstood, and there were scant services available for people living as their true gender. Additionally, the gay movement had become much more mainstream—and became dominated by the white, male masculine aesthetic that characterizes it to this day.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13859036\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859036\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/trans-march-2004-2-cecilia-chung.jpg\" alt=\"The first Trans March in 2004 reclaimed the trans community's rightful place in San Francisco's Pride celebration.\" width=\"720\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trans-march-2004-2-cecilia-chung.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trans-march-2004-2-cecilia-chung-160x106.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The first Trans March in 2004 reclaimed the trans community’s rightful place in San Francisco’s Pride celebration. \u003ccite>(Cecilia Chung)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Furthermore, the gay rights movement found success with a conformist message geared towards assimilation into straight norms. Some gay and lesbian organizers feared that the inclusion of trans people would undermine the movement’s gains. These divisions were highlighted in 1973, when homosexuality was officially removed as a mental illness from the American Psychiatric Association’s \u003ci>Diagnostic and Statistical Manual of Mental Disorders. \u003c/i>It would take another 40 years for gender identity disorder, the diagnosis that was generally given to trans people, to become similarly destigmatized in 2013.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> These factors set the stage for what happened in 1973, when Pride became openly hostile toward trans people. In \u003ci>Transgender History\u003c/i>, transgender historian Susan Stryker recounts that in that year, San Francisco Pride consisted of two main events: one was a trans-friendly event, organized by gay activist and Pentecostal preacher Reverend Raymond Broshears; the other event “expressly forbid transgender people from participating.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> According to Styker, the transphobic event was the more successful one, setting the tone for decades to come: “Broshears never organized another Gay Pride event, while the anti-drag event became the forerunner of the current San Francisco LGBTQ+ Pride celebration.” (In the ’70s, people often didn’t distinguish between drag queens and transgender women. Many lesbian activists at the time believed that drag was “misogynist,” hence the Stryker’s use of “anti-drag.”) [aside postid='arts_13835520']\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Transgender activist Cecilia Chung says that by 2004 things were quite different, and the San Francisco Pride organization was very willing to support a march devoted to trans empowerment. That year, an anonymous email circulated, calling on anyone who was gender nonconforming to march in conjunction with SF Pride weekend. A number of local activists came together around the call-to-action and decided to take on the responsibility of turning the gathering into a well-organized march.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Chung, who was on the board of directors of SF Pride at the time, took on fundraising for the original Trans March. She says it raised between $3,000 and $5,000, which went into sound systems, a performance space and safety minders. Pride and the Dyke March pitched in with logistical support and Porta Potties. The sex shop Good Vibrations, which has long been a trans-friendly employer, donated water and other beverages. Altogether, somewhere around 3,000 people marched in 2004, starting at Dolores Park and making their way to Civic Center.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Chung says that the first Trans March was undertaken for a number of reasons, a major one being to demand justice for \u003ca href=\"https://www.mercurynews.com/2016/10/14/the-murder-of-gwen-araujo/\" target=\"_blank\" rel=\"noopener\">Gwen Araujo\u003c/a>. Araujo was a trans woman who was brutally beaten to death in 2002 by four men who discovered she was transgender after flirting with her, and, in the case of two, having sexual relations. The trial began shortly before the first Trans March in April 2004, with Gloria Allred representing Araujo’s family. A mistrial had just been declared. It was a bitter setback for trans rights. (Eventually, two of the men were convicted of second-degree murder; the other two pleaded guilty and no contest to manslaughter.) [aside postid='arts_13858167']\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Allred and the family of Gwen Araujo attended the march, and they were not the only high-profile visitors. Senator Kamala Harris, who at the time was San Francisco District Attorney, was there, along with a number of other prominent local politicians. The politicized tone of fighting back against injustice, inequity and the brutal murders of trans people became a central part of the Trans March that continues to this day. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> There has been a lot to fight about. The 2008 march raged against Democrats in Congress, who, led by then-congressman Barney Frank, chose to dump trans people from an LGB-friendly version of the \u003ca href=\"https://www.sfgate.com/politics/article/House-cuts-transgender-people-from-hate-crimes-2538277.php\" target=\"_blank\" rel=\"noopener\">Employment Non-Discrimination Act\u003c/a> with the support of the Human Rights Campaign.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13859037\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859037\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/hire-trans-lgbt-center-800x723.jpg\" alt=\"The SF LGBT center promotes its trans employment resource program at the 2017 Trans March.\" width=\"800\" height=\"723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/hire-trans-lgbt-center.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/hire-trans-lgbt-center-160x145.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/hire-trans-lgbt-center-768x694.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The SF LGBT center promotes its trans employment resource program at the 2017 Trans March. \u003ccite>(SF LGBT Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">The 2016 Trans March gave a key piece of transgender history a permanent space in San Francisco when it concluded with the renaming of a Tenderloin street in remembrance of the historic riot at Compton’s Cafeteria, which took place in 1966, three years before Stonewall. This incident, in which gay and transgender patrons came together to demand equal treatment and defy police harassment, was a turning point for LGBTQ+ rights. In late 2018, part of the Tenderloin became designated as the world’s first \u003ca href=\"https://www.kqed.org/news/11717648/worlds-first-transgender-culture-district-looks-to-the-past-and-the-future\" target=\"_blank\" rel=\"noopener\">Transgender Cultural District\u003c/a>. This was a much-needed victory at a time when the Trump administration introduced plans to \u003ca href=\"https://www.nytimes.com/2018/10/21/us/politics/transgender-trump-administration-sex-definition.html\" target=\"_blank\" rel=\"noopener\">severely undermine trans rights\u003c/a>.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Chung recalls that the original Trans March was an important means of bringing together activists in the Bay Area, creating an atmosphere ripe for cross-pollination. The \u003ca href=\"http://www.castrocountryclub.org/\" target=\"_blank\" rel=\"noopener\">Castro Country Club\u003c/a>, a space that supports LGBTQ+ people in substance-abuse recovery, was instrumental in producing fundraisers for the first march, establishing links between different segments of the LGBTQ+ community. Furthermore, organizations like \u003ca href=\"http://tgsf.org/\" target=\"_blank\" rel=\"noopener\">Transgender San Francisco\u003c/a> and \u003ca href=\"https://www.ftmi.org/\" target=\"_blank\" rel=\"noopener\">FTM International\u003c/a>—the first organization specifically founded to advance the interests of transmasculine people—began to meet up and work toward collaboration. “A lot of things started around that time,” Chung says, including quarterly transgender events at the SF LGBT Center, and community town halls with some 500 people in attendance.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> The march also brought about a heightened profile for transgender advocacy. Chung recalls that in advance of the second march in 2005, she was interviewed by a television reporter from England. People were coming from far away to participate in the 2005 march, and the San Francisco organizers began cooperating with a similar event in New York City, arranging bicoastal transgender events on the same day.\u003c/span>\u003c/p>\n\u003ch2>The Trans March today\u003c/h2>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Chung says that while Pride has come to be more of a celebration than a political act, today’s Trans March very much reflects its radical roots. “The march is always meant to be a political statement,” she says. This is a necessity, as trans people are still so far from having full equality under the law, as well as simply having the resources necessary to live and celebrate their identity. Reflecting the radical spirit that has led the transgender movement to find creative ways to support itself and demand its rights, the organization of the march is highly democratized, with regularly rotating leadership and an emphasis on volunteerism over institutionalization to ensure the flow of new ideas. [aside postid='arts_13858699']\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Recent developments in the Trans March reflect that spirit. Satya says that the Youth and Elder Brunch, which began in 2012, “opens up an important opportunity for dialog between generations.” In a community that still remains fractured along lines of class and age, the brunch provides a vital means of building trans community and inclusivity, staying true to the march’s earliest foundations.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> While the Trans March is an annual reminder of the many gains that trans people have made since 2004, Satya says that it’s also a way of illuminating the things that are still to be done. With the Trump administration allowing doctors to \u003ca href=\"https://www.motherjones.com/politics/2019/05/the-trump-administration-just-said-religious-doctors-can-refuse-medical-treatment-for-patients/\" target=\"_blank\" rel=\"noopener\">deny of medical services to transgender patients\u003c/a>, banning transgender servicemembers from the military and threatening to define trans people out of existence, there is a lot of action needed before trans people have their full rights as American citizens. \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“We’ll keep marching until we don’t have to any more,” Satya says. “I hope that one day we’ll pass an equality act and won’t have discrimination anywhere, but until then we need to keep marching and fighting.”\u003c/span>\u003c/p>\n\n",
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"title": "How the Trans Community Reclaimed Its Rightful Place at Pride | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Mia Satya’s first \u003ca href=\"https://www.transmarch.org/\" target=\"_blank\" rel=\"noopener\">Trans March\u003c/a> was revolutionary.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> In 2010, Satya was new to the Bay Area, having come to San Francisco to escape the transphobia she experienced in Texas, where she was born. She was attending the Trans March as part of the group Trans Ladies Initiating Sisterhood, and she was about to dance in front of thousands of people for the first time ever. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Satya had never before had a chance like this. Dancing as her true self was an important way of defying the transphobia she’d encountered in her home state, and she was doing it in front 5,000 cheering people who were celebrating her transgender identity. “It was a life-changing opportunity,” she says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "“\u003cspan class=\"s1\">We’ll keep marching until we don’t have to any more.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Now an employment services coordinator with the \u003ca href=\"https://www.sfcenter.org/\" target=\"_blank\" rel=\"noopener\">San Francisco LGBT Center\u003c/a>, Satya advocates for transgender people in multiple ways, including helping facilitate the Trans March every year. She also staffs the LGBT Center’s booth in the march’s resource fair, where she meets new members of the community, engages with clients the center may have lost touch with, builds connections with businesses that want to hire more trans people and spreads the word about its trans employment program. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Satya says that “all hands are on deck” for the Trans March, which takes place on June 28 this year. For the SF LGBT Center, which also supports the central Pride March and the Dyke March, being at the Trans March is a way of making a clear statement of its commitment to the transgender community. Despite great advances since the first Trans March in 2004, many trans people still feel excluded from Pride and from LGBTQ+ communities in San Francisco. The “LBG” movement has not always been inclusive to the “T,” so the LGBT Center is one of many organizations that prioritizes sending a message of openness and collaboration.\u003c/span>\u003c/p>\n\u003ch2>The fight for trans inclusion at Pride\u003c/h2>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Nowadays the Trans March is an essential part of Pride, lasting an entire day and featuring a youth and elder brunch, resource fair, transformation booth, speakers and performances. But it wasn’t always like this. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Though trans women of color like \u003ca href=\"https://www.kqed.org/arts/13844019/ah-mer-ah-sus-major-soundtrack-feeds-the-spirit-of-trans-resistance\" target=\"_blank\" rel=\"noopener\">Miss Major Griffin-Gracy\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Sylvia_Rivera\" target=\"_blank\" rel=\"noopener\">Sylvia Rivera\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Marsha_P._Johnson\" target=\"_blank\" rel=\"noopener\">Marsha P. Johnson\u003c/a> played an essential role in the Stonewall uprising of 1969—a riot against police brutality in New York City that sparked the modern-day gay rights movement—by the early 1970s, when Pride first came together, there was no particular space for people who wanted to celebrate transgender identity. In fact, the gay, lesbian and bisexual community often discriminated against trans people. This is reflective of the era, as transgender people were grossly misunderstood, and there were scant services available for people living as their true gender. Additionally, the gay movement had become much more mainstream—and became dominated by the white, male masculine aesthetic that characterizes it to this day.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13859036\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859036\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/trans-march-2004-2-cecilia-chung.jpg\" alt=\"The first Trans March in 2004 reclaimed the trans community's rightful place in San Francisco's Pride celebration.\" width=\"720\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trans-march-2004-2-cecilia-chung.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trans-march-2004-2-cecilia-chung-160x106.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The first Trans March in 2004 reclaimed the trans community’s rightful place in San Francisco’s Pride celebration. \u003ccite>(Cecilia Chung)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Furthermore, the gay rights movement found success with a conformist message geared towards assimilation into straight norms. Some gay and lesbian organizers feared that the inclusion of trans people would undermine the movement’s gains. These divisions were highlighted in 1973, when homosexuality was officially removed as a mental illness from the American Psychiatric Association’s \u003ci>Diagnostic and Statistical Manual of Mental Disorders. \u003c/i>It would take another 40 years for gender identity disorder, the diagnosis that was generally given to trans people, to become similarly destigmatized in 2013.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> These factors set the stage for what happened in 1973, when Pride became openly hostile toward trans people. In \u003ci>Transgender History\u003c/i>, transgender historian Susan Stryker recounts that in that year, San Francisco Pride consisted of two main events: one was a trans-friendly event, organized by gay activist and Pentecostal preacher Reverend Raymond Broshears; the other event “expressly forbid transgender people from participating.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> According to Styker, the transphobic event was the more successful one, setting the tone for decades to come: “Broshears never organized another Gay Pride event, while the anti-drag event became the forerunner of the current San Francisco LGBTQ+ Pride celebration.” (In the ’70s, people often didn’t distinguish between drag queens and transgender women. Many lesbian activists at the time believed that drag was “misogynist,” hence the Stryker’s use of “anti-drag.”) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Transgender activist Cecilia Chung says that by 2004 things were quite different, and the San Francisco Pride organization was very willing to support a march devoted to trans empowerment. That year, an anonymous email circulated, calling on anyone who was gender nonconforming to march in conjunction with SF Pride weekend. A number of local activists came together around the call-to-action and decided to take on the responsibility of turning the gathering into a well-organized march.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Chung, who was on the board of directors of SF Pride at the time, took on fundraising for the original Trans March. She says it raised between $3,000 and $5,000, which went into sound systems, a performance space and safety minders. Pride and the Dyke March pitched in with logistical support and Porta Potties. The sex shop Good Vibrations, which has long been a trans-friendly employer, donated water and other beverages. Altogether, somewhere around 3,000 people marched in 2004, starting at Dolores Park and making their way to Civic Center.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Chung says that the first Trans March was undertaken for a number of reasons, a major one being to demand justice for \u003ca href=\"https://www.mercurynews.com/2016/10/14/the-murder-of-gwen-araujo/\" target=\"_blank\" rel=\"noopener\">Gwen Araujo\u003c/a>. Araujo was a trans woman who was brutally beaten to death in 2002 by four men who discovered she was transgender after flirting with her, and, in the case of two, having sexual relations. The trial began shortly before the first Trans March in April 2004, with Gloria Allred representing Araujo’s family. A mistrial had just been declared. It was a bitter setback for trans rights. (Eventually, two of the men were convicted of second-degree murder; the other two pleaded guilty and no contest to manslaughter.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Allred and the family of Gwen Araujo attended the march, and they were not the only high-profile visitors. Senator Kamala Harris, who at the time was San Francisco District Attorney, was there, along with a number of other prominent local politicians. The politicized tone of fighting back against injustice, inequity and the brutal murders of trans people became a central part of the Trans March that continues to this day. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> There has been a lot to fight about. The 2008 march raged against Democrats in Congress, who, led by then-congressman Barney Frank, chose to dump trans people from an LGB-friendly version of the \u003ca href=\"https://www.sfgate.com/politics/article/House-cuts-transgender-people-from-hate-crimes-2538277.php\" target=\"_blank\" rel=\"noopener\">Employment Non-Discrimination Act\u003c/a> with the support of the Human Rights Campaign.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13859037\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859037\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/hire-trans-lgbt-center-800x723.jpg\" alt=\"The SF LGBT center promotes its trans employment resource program at the 2017 Trans March.\" width=\"800\" height=\"723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/hire-trans-lgbt-center.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/hire-trans-lgbt-center-160x145.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/hire-trans-lgbt-center-768x694.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The SF LGBT center promotes its trans employment resource program at the 2017 Trans March. \u003ccite>(SF LGBT Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">The 2016 Trans March gave a key piece of transgender history a permanent space in San Francisco when it concluded with the renaming of a Tenderloin street in remembrance of the historic riot at Compton’s Cafeteria, which took place in 1966, three years before Stonewall. This incident, in which gay and transgender patrons came together to demand equal treatment and defy police harassment, was a turning point for LGBTQ+ rights. In late 2018, part of the Tenderloin became designated as the world’s first \u003ca href=\"https://www.kqed.org/news/11717648/worlds-first-transgender-culture-district-looks-to-the-past-and-the-future\" target=\"_blank\" rel=\"noopener\">Transgender Cultural District\u003c/a>. This was a much-needed victory at a time when the Trump administration introduced plans to \u003ca href=\"https://www.nytimes.com/2018/10/21/us/politics/transgender-trump-administration-sex-definition.html\" target=\"_blank\" rel=\"noopener\">severely undermine trans rights\u003c/a>.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Chung recalls that the original Trans March was an important means of bringing together activists in the Bay Area, creating an atmosphere ripe for cross-pollination. The \u003ca href=\"http://www.castrocountryclub.org/\" target=\"_blank\" rel=\"noopener\">Castro Country Club\u003c/a>, a space that supports LGBTQ+ people in substance-abuse recovery, was instrumental in producing fundraisers for the first march, establishing links between different segments of the LGBTQ+ community. Furthermore, organizations like \u003ca href=\"http://tgsf.org/\" target=\"_blank\" rel=\"noopener\">Transgender San Francisco\u003c/a> and \u003ca href=\"https://www.ftmi.org/\" target=\"_blank\" rel=\"noopener\">FTM International\u003c/a>—the first organization specifically founded to advance the interests of transmasculine people—began to meet up and work toward collaboration. “A lot of things started around that time,” Chung says, including quarterly transgender events at the SF LGBT Center, and community town halls with some 500 people in attendance.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> The march also brought about a heightened profile for transgender advocacy. Chung recalls that in advance of the second march in 2005, she was interviewed by a television reporter from England. People were coming from far away to participate in the 2005 march, and the San Francisco organizers began cooperating with a similar event in New York City, arranging bicoastal transgender events on the same day.\u003c/span>\u003c/p>\n\u003ch2>The Trans March today\u003c/h2>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Chung says that while Pride has come to be more of a celebration than a political act, today’s Trans March very much reflects its radical roots. “The march is always meant to be a political statement,” she says. This is a necessity, as trans people are still so far from having full equality under the law, as well as simply having the resources necessary to live and celebrate their identity. Reflecting the radical spirit that has led the transgender movement to find creative ways to support itself and demand its rights, the organization of the march is highly democratized, with regularly rotating leadership and an emphasis on volunteerism over institutionalization to ensure the flow of new ideas. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> Recent developments in the Trans March reflect that spirit. Satya says that the Youth and Elder Brunch, which began in 2012, “opens up an important opportunity for dialog between generations.” In a community that still remains fractured along lines of class and age, the brunch provides a vital means of building trans community and inclusivity, staying true to the march’s earliest foundations.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\"> While the Trans March is an annual reminder of the many gains that trans people have made since 2004, Satya says that it’s also a way of illuminating the things that are still to be done. With the Trump administration allowing doctors to \u003ca href=\"https://www.motherjones.com/politics/2019/05/the-trump-administration-just-said-religious-doctors-can-refuse-medical-treatment-for-patients/\" target=\"_blank\" rel=\"noopener\">deny of medical services to transgender patients\u003c/a>, banning transgender servicemembers from the military and threatening to define trans people out of existence, there is a lot of action needed before trans people have their full rights as American citizens. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“We’ll keep marching until we don’t have to any more,” Satya says. “I hope that one day we’ll pass an equality act and won’t have discrimination anywhere, but until then we need to keep marching and fighting.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>One Saturday evening last month, dozens of people hovered around a horseshoe-shaped bar in the Mission District of San Francisco. Diffuse blue and fuchsia lights shone on white patent leather sofas, and a DJ played vinyl—mostly throwback funk and disco beating with a steady pulse. Arched over the scene was a pink neon sign with the words “Eagle Creek.”\u003c/p>\n\u003cp>As the music quieted, \u003ca href=\"http://www.sadiebarnette.com/\" target=\"_blank\" rel=\"noopener\">Sadie Barnette\u003c/a> and her father Rodney sat on stools beneath the neon, and explained why this art space, usually known as \u003ca href=\"https://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">the Lab\u003c/a>, looked and felt like a nightclub. In the 1970s and 1980s, Rodney recalled, gay bars were among the least hospitable places in San Francisco for black people such as himself. There was hardly a place for gay black people to dance, let alone throw a fundraiser for a gay black political candidate.\u003c/p>\n\u003cp>“That’s why I bought the Eagle Creek,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13858718\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858718\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-800x533.jpg\" alt=\"Sadie Barnette (L) used her residency at The Lab to honor San Francisco's first black-owned gay bar the Eagle Creek Saloon, which her father Rodney (R) opened in 1990.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sadie Barnette (L) used her residency at The Lab to honor San Francisco’s first black-owned gay bar the Eagle Creek Saloon, which her father Rodney (R) opened in 1990. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sadie was five years old in 1990 when her father acquired the bar that for the next three years provided gay people of color a site of protest, refuge and revelry on Market Street—”a friendly place with a funky bass for every race,” as its slogan went. Now the Oakland artist is using her \u003ca href=\"https://www.thelab.org/projects/2019/5/11/sadie-barnette-the-new-eagle-creek-saloon\" target=\"_blank\" rel=\"noopener\">residency\u003c/a> at the Lab to to honor her father’s venture with “something living, something more than a referential archive,” she said. “I want this to channel Eagle Creek, not just be about it.” [aside postid='arts_13858167']\u003c/p>\n\u003cp>Sadie’s most vivid memory of the city’s first black-owned gay bar is from 1992, when the Eagle Creek sponsored what Rodney calls the first black float in the San Francisco Pride parade. The theme was black people through the ages, and Sadie stood alongside pharaohs and astronauts in an ornately tasseled ensemble created by a bar regular. Her residency at the Lab culminates with this year’s parade on June 30, when the entire bar will be hoisted onto a float. Until then, the bar is on view every Wednesday 5-8pm.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size='large' align='right' citation='Rodney Barnette, owner of Eagle Creek Saloon']“The bigger the community got, the worse the discrimination was. I started avoiding even driving through the Castro.”[/pullquote]\u003c/span>\u003c/p>\n\u003cp>“The New Eagle Creek Saloon” is not a reproduction of Eagle Creek so much as a fondly embellished memory. Sadie called the aesthetic “disco limbo,” saying in a recent interview that it connects to her work in terms of familiar objects or scenes portrayed with a hyperbolic grandeur to suggest their liberatory potential. The bar is part altar, with photos of the Barnette family from the time, and part sculpture, with crushed cans and stereo equipment enameled in glitter. There are branded matchbooks and coasters, and the bar itself is sturdy enough for people to dance on.\u003c/p>\n\u003cfigure id=\"attachment_13858711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858711\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-800x618.jpg\" alt='L to R: Alvin and Carl Barnette, Eagle Creek regulars Sammy \"La Creek\" and Frank \"Lady F,\" and Rodney Barnette.' width=\"800\" height=\"618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-1020x788.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-1200x928.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Alvin and Carl Barnette, Eagle Creek regulars Sammy “La Creek” and Frank “Lady F,” and Rodney Barnette. \u003ccite>(Courtesy Sadie Barnette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sadie aims for the installation to also be a queer social space, inviting organizations such as the Black Aesthetic film collective to contribute programming. This way, the project at once enhances the historical record, gathering memories and materials related to a little-documented bar, and addresses a still-urgent need for black-centered queer spaces. “Discrimination at clubs doesn’t take the same forms now,” she said. “But we shouldn’t relegate the struggle to the past.”\u003c/p>\n\u003cp>Rodney was wounded in the Vietnam War, and upon returning to Los Angeles realized American police occupied the black community the way American soldiers occupied Vietnam. He founded the Compton chapter of the Black Panther Party in 1968, landing on the Federal Bureau of Investigation’s Counterintelligence Program (COINTELPRO) watchlist. [aside postid='arts_13858829']\u003c/p>\n\u003cp>Sadie incorporated his FBI file, acquired via a public records request, into her installation \u003cem>My Father’s FBI File, Project I\u003c/em>, which debuted in 2016 at the Oakland Museum of California’s exhibition \u003cem>All Power to the People: Black Panthers at 50\u003c/em>. She had in mind a piece inspired by Eagle Creek even before that project, but it wasn’t until the Lab residency that she had the opportunity. “Something that’s as much performance as shrine or nightclub needs somewhere as flexible as the Lab,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13858712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-800x450.jpg\" alt=\"The bar is part altar, with photos of the Barnette family from the time, and part sculpture, with crushed cans and stereo equipment enameled in glitter.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The bar is part altar, with photos of the Barnette family from the time, and part sculpture, with crushed cans and stereo equipment enameled in glitter. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rodney, who moved to San Francisco in 1969, said he was surprised to find racism in the gay scene to be more pronounced than in the city over all. As he recalls, the Rendezvous cut the music when black people started to dance, citing a rule against bodily contact, and the Stud removed the black music from the jukebox. At the Mineshaft, like other gay bars, black people were often asked for three forms of identification at the door. “And the bigger the community got, the worse the discrimination was,” Rodney said. “I started avoiding even driving through the Castro.”\u003c/p>\n\u003cp>Even the opening of the Eagle Creek, in 1990, was followed by what Rodney considered a racist smear in San Francisco’s LGBTQ+ newspaper, \u003cem>Bay Area Reporter\u003c/em>. A news item on a white gay man found strangled to death at home noted that he was an Eagle Creek regular with a “sexual preference for black males,” unsubtly implying a connection. Rodney wrote the newspaper expressing sympathy for the victim and outrage at the innuendo, prompting a retraction.\u003c/p>\n\u003cfigure id=\"attachment_13858710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858710\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Bar-by-day-800x507.jpg\" alt='Sadie Barnette aims for \"The New Eagle Creek Saloon\" to be a queer social space. ' width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day-1200x760.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sadie Barnette aims for “The New Eagle Creek Saloon” to be a queer social space. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A hub of gay rights activism, the bar hosted fundraisers for groups such as Lesbians and Gays of African Descent for Democratic Action, which in turn pressured the San Francisco Board of Supervisors to pass legislation forestalling the discriminatory identification checks. The bar closed during candlelight vigils on Market Street for community members lost to the AIDS epidemic. Rodney said it also brought him closer to his two straight brothers. [aside postid='arts_13858699']\u003c/p>\n\u003cp>The Eagle Creek shuttered in 1993 because business tapered during an economic downturn, and another short-lived bar aimed at straight people, The Drunk Tank, opened in its place. But it left deep impressions on its patrons, many of whom turned out to the opening last month at the Lab. After the Barnettes’ presentation, one former regular lyrically recalled a muscular bartender with a tiny chihuahua. Another, choking up, remembered himself as painfully closeted, at all times withdrawn into his hoodie.\u003c/p>\n\u003cp>“I was hiding,” he said. “At the Eagle Creek, I opened up.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>One Saturday evening last month, dozens of people hovered around a horseshoe-shaped bar in the Mission District of San Francisco. Diffuse blue and fuchsia lights shone on white patent leather sofas, and a DJ played vinyl—mostly throwback funk and disco beating with a steady pulse. Arched over the scene was a pink neon sign with the words “Eagle Creek.”\u003c/p>\n\u003cp>As the music quieted, \u003ca href=\"http://www.sadiebarnette.com/\" target=\"_blank\" rel=\"noopener\">Sadie Barnette\u003c/a> and her father Rodney sat on stools beneath the neon, and explained why this art space, usually known as \u003ca href=\"https://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">the Lab\u003c/a>, looked and felt like a nightclub. In the 1970s and 1980s, Rodney recalled, gay bars were among the least hospitable places in San Francisco for black people such as himself. There was hardly a place for gay black people to dance, let alone throw a fundraiser for a gay black political candidate.\u003c/p>\n\u003cp>“That’s why I bought the Eagle Creek,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13858718\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858718\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-800x533.jpg\" alt=\"Sadie Barnette (L) used her residency at The Lab to honor San Francisco's first black-owned gay bar the Eagle Creek Saloon, which her father Rodney (R) opened in 1990.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sadie Barnette (L) used her residency at The Lab to honor San Francisco’s first black-owned gay bar the Eagle Creek Saloon, which her father Rodney (R) opened in 1990. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sadie was five years old in 1990 when her father acquired the bar that for the next three years provided gay people of color a site of protest, refuge and revelry on Market Street—”a friendly place with a funky bass for every race,” as its slogan went. Now the Oakland artist is using her \u003ca href=\"https://www.thelab.org/projects/2019/5/11/sadie-barnette-the-new-eagle-creek-saloon\" target=\"_blank\" rel=\"noopener\">residency\u003c/a> at the Lab to to honor her father’s venture with “something living, something more than a referential archive,” she said. “I want this to channel Eagle Creek, not just be about it.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sadie’s most vivid memory of the city’s first black-owned gay bar is from 1992, when the Eagle Creek sponsored what Rodney calls the first black float in the San Francisco Pride parade. The theme was black people through the ages, and Sadie stood alongside pharaohs and astronauts in an ornately tasseled ensemble created by a bar regular. Her residency at the Lab culminates with this year’s parade on June 30, when the entire bar will be hoisted onto a float. Until then, the bar is on view every Wednesday 5-8pm.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "“The bigger the community got, the worse the discrimination was. I started avoiding even driving through the Castro.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>“The New Eagle Creek Saloon” is not a reproduction of Eagle Creek so much as a fondly embellished memory. Sadie called the aesthetic “disco limbo,” saying in a recent interview that it connects to her work in terms of familiar objects or scenes portrayed with a hyperbolic grandeur to suggest their liberatory potential. The bar is part altar, with photos of the Barnette family from the time, and part sculpture, with crushed cans and stereo equipment enameled in glitter. There are branded matchbooks and coasters, and the bar itself is sturdy enough for people to dance on.\u003c/p>\n\u003cfigure id=\"attachment_13858711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858711\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-800x618.jpg\" alt='L to R: Alvin and Carl Barnette, Eagle Creek regulars Sammy \"La Creek\" and Frank \"Lady F,\" and Rodney Barnette.' width=\"800\" height=\"618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-1020x788.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-1200x928.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Alvin and Carl Barnette, Eagle Creek regulars Sammy “La Creek” and Frank “Lady F,” and Rodney Barnette. \u003ccite>(Courtesy Sadie Barnette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sadie aims for the installation to also be a queer social space, inviting organizations such as the Black Aesthetic film collective to contribute programming. This way, the project at once enhances the historical record, gathering memories and materials related to a little-documented bar, and addresses a still-urgent need for black-centered queer spaces. “Discrimination at clubs doesn’t take the same forms now,” she said. “But we shouldn’t relegate the struggle to the past.”\u003c/p>\n\u003cp>Rodney was wounded in the Vietnam War, and upon returning to Los Angeles realized American police occupied the black community the way American soldiers occupied Vietnam. He founded the Compton chapter of the Black Panther Party in 1968, landing on the Federal Bureau of Investigation’s Counterintelligence Program (COINTELPRO) watchlist. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sadie incorporated his FBI file, acquired via a public records request, into her installation \u003cem>My Father’s FBI File, Project I\u003c/em>, which debuted in 2016 at the Oakland Museum of California’s exhibition \u003cem>All Power to the People: Black Panthers at 50\u003c/em>. She had in mind a piece inspired by Eagle Creek even before that project, but it wasn’t until the Lab residency that she had the opportunity. “Something that’s as much performance as shrine or nightclub needs somewhere as flexible as the Lab,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13858712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-800x450.jpg\" alt=\"The bar is part altar, with photos of the Barnette family from the time, and part sculpture, with crushed cans and stereo equipment enameled in glitter.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The bar is part altar, with photos of the Barnette family from the time, and part sculpture, with crushed cans and stereo equipment enameled in glitter. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rodney, who moved to San Francisco in 1969, said he was surprised to find racism in the gay scene to be more pronounced than in the city over all. As he recalls, the Rendezvous cut the music when black people started to dance, citing a rule against bodily contact, and the Stud removed the black music from the jukebox. At the Mineshaft, like other gay bars, black people were often asked for three forms of identification at the door. “And the bigger the community got, the worse the discrimination was,” Rodney said. “I started avoiding even driving through the Castro.”\u003c/p>\n\u003cp>Even the opening of the Eagle Creek, in 1990, was followed by what Rodney considered a racist smear in San Francisco’s LGBTQ+ newspaper, \u003cem>Bay Area Reporter\u003c/em>. A news item on a white gay man found strangled to death at home noted that he was an Eagle Creek regular with a “sexual preference for black males,” unsubtly implying a connection. Rodney wrote the newspaper expressing sympathy for the victim and outrage at the innuendo, prompting a retraction.\u003c/p>\n\u003cfigure id=\"attachment_13858710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858710\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Bar-by-day-800x507.jpg\" alt='Sadie Barnette aims for \"The New Eagle Creek Saloon\" to be a queer social space. ' width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day-1200x760.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sadie Barnette aims for “The New Eagle Creek Saloon” to be a queer social space. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A hub of gay rights activism, the bar hosted fundraisers for groups such as Lesbians and Gays of African Descent for Democratic Action, which in turn pressured the San Francisco Board of Supervisors to pass legislation forestalling the discriminatory identification checks. The bar closed during candlelight vigils on Market Street for community members lost to the AIDS epidemic. Rodney said it also brought him closer to his two straight brothers. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Eagle Creek shuttered in 1993 because business tapered during an economic downturn, and another short-lived bar aimed at straight people, The Drunk Tank, opened in its place. But it left deep impressions on its patrons, many of whom turned out to the opening last month at the Lab. After the Barnettes’ presentation, one former regular lyrically recalled a muscular bartender with a tiny chihuahua. Another, choking up, remembered himself as painfully closeted, at all times withdrawn into his hoodie.\u003c/p>\n\u003cp>“I was hiding,” he said. “At the Eagle Creek, I opened up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "When Queer Nation 'Bashed Back' Against Homophobia with Street Patrols and Glitter",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In the lingering darkness of the early morning, the queers climbed up a SoMA highway overpass, recently shut down due to structural concerns from the Loma Prieta earthquake. They were on a mission from Catherine Did It, a focus group affiliated with San Francisco’s brand-new chapter of the ostentatious activist organization Queer Nation, which had an estimated 40 chapters around the country.\u003c/p>\n\u003cp>Catherine Did It was created to use guerrilla tactics to \u003ca href=\"https://www.latimes.com/archives/la-xpm-1991-04-29-ca-750-story.html\" target=\"_blank\" rel=\"noopener\">confront the filming of \u003cem>Basic Instinct\u003c/em>\u003c/a>—a 1992 movie Queer Nation saw as the latest example of Hollywood’s storied obsession with psychotic queer women. In the film, a secondary bisexual character wrings her hands and moans to the brave male protagonist upon being outed, “I was embarrassed. It was the only time I’d been with a woman.” Sleeping with a man seems to cure the anti-heroine of her murderous lesbianism. (Her truculent girlfriend was disposed of in a fatal automobile accident.)\u003c/p>\n\u003cp>In 1991, in the aftermath of the AIDS epidemic’s terrorizing hold on the queer community, many considered this stereotypical mainstream representation intolerable.\u003c/p>\n\u003cp>The activists had been tipped off that the next evening, shooting would take place on the block below their feet—well, not if they had anything to do with it. They opened up the bags of glitter they hauled up to the abandoned stretch of I-280 and let their contents fly. When the film crew arrived, they’d find their trumped-up, urban wasteland location covered in twinkling bits of exquisitely campy queer rage.\u003c/p>\n\u003cfigure id=\"attachment_13858730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858730\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Queer-Nation-1-800x450.jpg\" alt=\"Queer Nation activists march at a New York City peace rally in October 1990.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queer Nation activists march at a New York City peace rally in October 1990. \u003ccite>(Tracey Litt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the occasion of Queer Nation’s 25th anniversary in 2015, San Francisco chapter co-founder Mark Duran \u003ca href=\"https://www.ebar.com/news//245481\" target=\"_blank\" rel=\"noopener\">told the \u003cem>Bay Area Reporter\u003c/em>\u003c/a> that he had been inspired to form the group in 1990 after watching a conversation between radical, queer activists from New York and their more staid, Democratic Party-affiliated San Francisco counterparts on KQED.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was at that precise moment that I realized the time was up for asking for crumbs from the table as our gay leaders had been doing for so long,” he remembered. “It was time for us to simply take our place at that table and demand our civil and human rights.”\u003c/p>\n\u003cp>Duran, his partner Daniel Paiz and fellow activist Steve Mehall blanketed the Castro and Mission districts with flyers announcing Queer Nation SF’s first meeting, which would take place one month after that of the original New York chapter. The group convened at the historic Women’s Building. An astounding 300 people (as many as 500, by some estimates) came to the first gathering, where a consensus-based, horizontal leadership structure was codified.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Rachel Pepper, former Queer Nation activist']There was a lot of camp, because when you are in the midst of a crisis and an epidemic you also have to laugh, and you have to find humor, and you have to love, and you have to live intensely every day, because you don’t know if you’re going to be alive in a year.\u003cspan style=\"font-weight: 400\">[/pullquote]\u003c/span>\u003c/p>\n\u003cp>Going forward, even the most routine general assembly meeting would draw crowds of around 200 members. Focus groups formed, among them LABIA (Lesbians And Bi-women In Action), the people of color-focused United Colors of Queer Nation, UBIQUITOUS (Uppity Bi Queers United In Their Overtly Unconventional Sexuality), Queer Planet and DORIS SQUASH (Defending Our Rights In the Streets, Super Queers United Against Savage Heterosexism).\u003c/p>\n\u003cp>“That first meeting was very, very exciting,” says Queer Nation and Catherine Did It activist Jennifer Junkyard Morris. “Well—and it was also very cruise-y.”\u003c/p>\n\u003ch2>Queer activism in the wake of the AIDS epidemic\u003c/h2>\n\u003cp>The early ’90s were a time when traditional activist tactics were being queered across the country. In 1990, fellow direct-action group ACT UP organized \u003ca href=\"https://48hills.org/2015/06/the-week-act-up-shut-sf-down/\" target=\"_blank\" rel=\"noopener\">a massive die-in protest\u003c/a> on Market Street during San Francisco’s hosting of the Sixth International Conference on AIDS. It was part of the group’s bid to raise awareness and halt the plague that claimed so many lives, many of them in the LGBTQ+ community.\u003c/p>\n\u003cp>But at times, ACT UP made its points quite cheekily. For example, the group’s signature “ACT UP, fight back, fight AIDS!” chant would become “ACT UP, kick back get laid!” when participants tired of earnestness.\u003c/p>\n\u003cfigure id=\"attachment_13858731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Queer-Nation-3-800x534.jpg\" alt=\"Queer Nation New York activists at an October 1990 demonstration. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-3-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queer Nation New York activists at an October 1990 demonstration. \u003ccite>(Tracey Litt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Queer Nation activists were inspired by those touches of swishy irreverence—the founders of the original Queer Nation New York chapter had been active in ACT UP themselves—but they wanted to expand the AIDS-focused group’s scope. “That’s really why [Queer Nation] was created, to deal with other places where we’re being attacked,” remembers Morris.\u003c/p>\n\u003cp>Across the country, Queer Nation became best known for targeting cultural homophobia. Some of the San Francisco chapter’s first actions were kiss-ins, which would send hundreds of flamboyant lovers to a straight Marina bar or the Powell Street cable car turnaround, where they would make out en masse with gusto.\u003c/p>\n\u003cp>Focus group GHOST (Grand Homosexual Outrage at Sickening Televangelists) organized a rally to greet \u003ca href=\"https://www.apnews.com/1c940282ba516b1058d242fd482ebd9d\" target=\"_blank\" rel=\"noopener\">televangelists who’d flown in to exorcise the demons\u003c/a> of San Francisco on Halloween night of 1990. The evangelist-phobic crowd of thousands skipped off to the annual Castro neighborhood celebrations after overwhelming the city’s would-be saviors. Similarly irreverant, SHOP (Suburban Homosexual Outreach Program) fulfilled its moniker’s promise by surprising attendees at a special celebrity appearance of Hello Kitty at San Bruno’s Tanforan Shopping Center with a joyous melee of drag, balloons and banners.\u003c/p>\n\u003cp>https://vimeo.com/119618746\u003c/p>\n\u003cp>Often, Queer Nation’s actions featured a chant that hasn’t left the lips of LGBTQ+ troublemakers since: “We’re here! We’re queer! Get used to it!”\u003c/p>\n\u003cp>For members of Queer Nation, style was key. The group’s many affiliated visual artists designed neon stickers with sayings like “Queers bash back” and “Dykes take over the world.” “Usually I wore boy drag like an ACT UP activist, but sometimes gurl drag—a wig and long hair, earrings and a dress or skirt,” remembers activist Derek Marshall Newman in an email to KQED. “It depended how cute I wanted look and how safe I felt.”\u003c/p>\n\u003cp>“We were queer people, so we had a sense of humor,” says \u003ca href=\"https://www.rachel-pepper.com/\" target=\"_blank\" rel=\"noopener\">Rachel Pepper\u003c/a>, an early Queer Nation member who played a key role in moderating general meetings. “There was a lot of camp, because when you are in the midst of a crisis and an epidemic you also have to laugh, and you have to find humor, and you have to love, and you have to live intensely every day, because you don’t know if you’re going to be alive in a year.”\u003c/p>\n\u003ch2>‘Queers bash back’\u003c/h2>\n\u003cp>In this pre-internet era, Queer Nation members communicated via their Queer Week newsletter and Queerline voicemail system. They coined the phrase “Queers bash back” for street patrols that walked the streets of San Francisco to thwart gay bashers, who seemed to stalk Dolores Park, and abusive cops, who were surely Queer Nation’s most hated adversaries. Often, the group would show up in solidarity at community anti-police and eviction protests.\u003c/p>\n\u003cp>In fact, intersectionality became a goal of the short-lived group. Among the group’s people of color-focused sub-groups was United Colors of Queer Nation, founded by activist \u003ca href=\"https://www.ebar.com/obituaries//248420\" target=\"_blank\" rel=\"noopener\">Karl Knapper\u003c/a>. It focused on amplifying the voices of activists of color in Queer Nation, and on developing practices that protected black and brown bodies at protests, such as physical placement at sit-ins and pre-event training on how to deal with police.\u003c/p>\n\u003cp>“That was one of the things that [white Queer Nation activists] wanted to do: a lot of civil disobedience,” remembers United Colors activist Thomas Tymstone, who, along with Pepper, also facilitated Queer Nation’s general assembly meetings. “That is great, but a lot of people of color don’t want to be arrested for any reason.”\u003c/p>\n\u003cp>Historian \u003ca href=\"https://independent.academia.edu/GKoskovich\" target=\"_blank\" rel=\"noopener\">Gerard Koskovich\u003c/a> was a legal observer during Queer Nation actions, taking notes in case there was a later need for a court witness to testify against police misconduct. Koskovich remembers how members who came from privileged backgrounds listened to stories fellow activists told about experiences with predatory law enforcement. These exchanges could oftentimes prove intense for would-be activists who became overwhelmed by the multiplicity of perspectives and the challenges they presented to creating a cohesive movement.\u003c/p>\n\u003cfigure id=\"attachment_13858225\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858225\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Patriot_Prayer_SF_counterprotest_20170826-8107-800x490.jpg\" alt=\"Queer Nation's confrontational tactics and slogans like "Queers bash back" continue to influence LGBTQ activists. Here, protesters carry a "Queers bash back" sign at a Patriot Prayer counter-demonstration in San Francisco in 2017.\" width=\"800\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Patriot_Prayer_SF_counterprotest_20170826-8107-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Patriot_Prayer_SF_counterprotest_20170826-8107-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Patriot_Prayer_SF_counterprotest_20170826-8107-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Patriot_Prayer_SF_counterprotest_20170826-8107-1020x625.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Patriot_Prayer_SF_counterprotest_20170826-8107-1200x735.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Patriot_Prayer_SF_counterprotest_20170826-8107.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queer Nation’s confrontational tactics and slogans like “Queers bash back” continue to influence LGBTQ activists. Here, protesters carry a “Queers bash back” sign at a Patriot Prayer counter-demonstration in San Francisco in 2017. \u003ccite>(Pax Ahimnsa Gethen/Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But sometimes, surprising moments of connection took place. As one of the group’s hard-working moderators, Tymstone remembers with fondness Queer Nation’s practice of the “fishbowl,” in which different focus groups could hold the floor and address their concerns uninterrupted by comments from the audience. “A lot of our organizational structure was made by women,” he says. “Gay men didn’t know anything about consensus. We would just talk until somebody let us—or until somebody heard us. [The women] would stop us and say, ‘Wait, let this person talk.'”\u003c/p>\n\u003cp>“For a period of time, at least, those meetings became much more of a space where people felt safe coming forward with these very tender, difficult things and saying, ‘Can we talk about this and help understand things better?'” Koskovich says. “Of course, it didn’t ultimately always work out that way, and how could it? But at least that was a moment.”\u003c/p>\n\u003cfigure id=\"attachment_13858227\" class=\"wp-caption aligncenter\" style=\"max-width: 574px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858227\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Queer_Nation_Houston_x6.jpg\" alt=\"Posters from Queer Nation's Houston chapter.\" width=\"574\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer_Nation_Houston_x6.jpg 574w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer_Nation_Houston_x6-160x124.jpg 160w\" sizes=\"(max-width: 574px) 100vw, 574px\">\u003cfigcaption class=\"wp-caption-text\">Posters from Queer Nation’s Houston chapter. \u003ccite>(WikiMedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The moment didn’t last forever. Queer Nation SF meetings dwindled by the end of 1991. Some members say the vast organization collapsed under difference in tactical preferences and the weight of trying to do too much. But in the cracks and crannies of San Francisco, some glitter from the Queer Nation days remain.\u003c/p>\n\u003cp>The group’s members went on to become writers, policymakers, historians, artists and scholars. Morris became an \u003ca href=\"https://kpfa.org/featured-episode/interview-with-jennifer-junkyard-morris/\" target=\"_blank\" rel=\"noopener\">eminent Bay Area film programmer\u003c/a> at Frameline Film Festival, SF DocFest and the Roxie Theater. \u003ca href=\"http://www.buffalo.edu/news/experts/jonathan-katz-queer-history.html\" target=\"_blank\" rel=\"noopener\">Jonathan David Katz\u003c/a> is a lauded academic who founded the \u003ca href=\"https://www.sfgate.com/news/article/Harvey-Milk-Institute-Opens-Gay-lesbian-studies-3049118.php\" target=\"_blank\" rel=\"noopener\">Harvey Milk Institute\u003c/a>, once one of the world’s largest centers for queer studies. And fellow alum \u003ca href=\"https://www.justinvivianbond.com/\" target=\"_blank\" rel=\"noopener\">Justin Vivian Bond\u003c/a> is a ground-breaking, Tony-nominated vocalist and founder of parodic lounge duo Kiki and Herb.\u003c/p>\n\u003cp>“It definitely shaped a generation of activists in terms of thinking about how they wanted to live their lives,” says Pepper, who helped found \u003ca href=\"http://www.curvemag.com\" target=\"_blank\" rel=\"noopener\">Curve Magazine\u003c/a> and wrote 1999’s \u003ca href=\"https://www.amazon.com/Ultimate-Guide-Pregnancy-Lesbians-Pre-conception/dp/157344216X\" target=\"_blank\" rel=\"noopener\">\u003cem>The Ultimate Guide to Pregnancy for Lesbians\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“There’s a real concrete, traceable network of people doing work that came out of the relationships built in that era,” says Koskovich.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Queer Nation’s activism was brief, but the group’s flouncy radicalism left a blueprint for younger generations: to make activism last, listen to those with different experiences. To heal, laugh. And to make change, be unabashedly, unapologetically loud.\u003c/p>\n\n",
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"title": "When Queer Nation 'Bashed Back' Against Homophobia with Street Patrols and Glitter | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In the lingering darkness of the early morning, the queers climbed up a SoMA highway overpass, recently shut down due to structural concerns from the Loma Prieta earthquake. They were on a mission from Catherine Did It, a focus group affiliated with San Francisco’s brand-new chapter of the ostentatious activist organization Queer Nation, which had an estimated 40 chapters around the country.\u003c/p>\n\u003cp>Catherine Did It was created to use guerrilla tactics to \u003ca href=\"https://www.latimes.com/archives/la-xpm-1991-04-29-ca-750-story.html\" target=\"_blank\" rel=\"noopener\">confront the filming of \u003cem>Basic Instinct\u003c/em>\u003c/a>—a 1992 movie Queer Nation saw as the latest example of Hollywood’s storied obsession with psychotic queer women. In the film, a secondary bisexual character wrings her hands and moans to the brave male protagonist upon being outed, “I was embarrassed. It was the only time I’d been with a woman.” Sleeping with a man seems to cure the anti-heroine of her murderous lesbianism. (Her truculent girlfriend was disposed of in a fatal automobile accident.)\u003c/p>\n\u003cp>In 1991, in the aftermath of the AIDS epidemic’s terrorizing hold on the queer community, many considered this stereotypical mainstream representation intolerable.\u003c/p>\n\u003cp>The activists had been tipped off that the next evening, shooting would take place on the block below their feet—well, not if they had anything to do with it. They opened up the bags of glitter they hauled up to the abandoned stretch of I-280 and let their contents fly. When the film crew arrived, they’d find their trumped-up, urban wasteland location covered in twinkling bits of exquisitely campy queer rage.\u003c/p>\n\u003cfigure id=\"attachment_13858730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858730\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Queer-Nation-1-800x450.jpg\" alt=\"Queer Nation activists march at a New York City peace rally in October 1990.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queer Nation activists march at a New York City peace rally in October 1990. \u003ccite>(Tracey Litt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the occasion of Queer Nation’s 25th anniversary in 2015, San Francisco chapter co-founder Mark Duran \u003ca href=\"https://www.ebar.com/news//245481\" target=\"_blank\" rel=\"noopener\">told the \u003cem>Bay Area Reporter\u003c/em>\u003c/a> that he had been inspired to form the group in 1990 after watching a conversation between radical, queer activists from New York and their more staid, Democratic Party-affiliated San Francisco counterparts on KQED.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was at that precise moment that I realized the time was up for asking for crumbs from the table as our gay leaders had been doing for so long,” he remembered. “It was time for us to simply take our place at that table and demand our civil and human rights.”\u003c/p>\n\u003cp>Duran, his partner Daniel Paiz and fellow activist Steve Mehall blanketed the Castro and Mission districts with flyers announcing Queer Nation SF’s first meeting, which would take place one month after that of the original New York chapter. The group convened at the historic Women’s Building. An astounding 300 people (as many as 500, by some estimates) came to the first gathering, where a consensus-based, horizontal leadership structure was codified.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>Going forward, even the most routine general assembly meeting would draw crowds of around 200 members. Focus groups formed, among them LABIA (Lesbians And Bi-women In Action), the people of color-focused United Colors of Queer Nation, UBIQUITOUS (Uppity Bi Queers United In Their Overtly Unconventional Sexuality), Queer Planet and DORIS SQUASH (Defending Our Rights In the Streets, Super Queers United Against Savage Heterosexism).\u003c/p>\n\u003cp>“That first meeting was very, very exciting,” says Queer Nation and Catherine Did It activist Jennifer Junkyard Morris. “Well—and it was also very cruise-y.”\u003c/p>\n\u003ch2>Queer activism in the wake of the AIDS epidemic\u003c/h2>\n\u003cp>The early ’90s were a time when traditional activist tactics were being queered across the country. In 1990, fellow direct-action group ACT UP organized \u003ca href=\"https://48hills.org/2015/06/the-week-act-up-shut-sf-down/\" target=\"_blank\" rel=\"noopener\">a massive die-in protest\u003c/a> on Market Street during San Francisco’s hosting of the Sixth International Conference on AIDS. It was part of the group’s bid to raise awareness and halt the plague that claimed so many lives, many of them in the LGBTQ+ community.\u003c/p>\n\u003cp>But at times, ACT UP made its points quite cheekily. For example, the group’s signature “ACT UP, fight back, fight AIDS!” chant would become “ACT UP, kick back get laid!” when participants tired of earnestness.\u003c/p>\n\u003cfigure id=\"attachment_13858731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Queer-Nation-3-800x534.jpg\" alt=\"Queer Nation New York activists at an October 1990 demonstration. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-3-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer-Nation-3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queer Nation New York activists at an October 1990 demonstration. \u003ccite>(Tracey Litt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Queer Nation activists were inspired by those touches of swishy irreverence—the founders of the original Queer Nation New York chapter had been active in ACT UP themselves—but they wanted to expand the AIDS-focused group’s scope. “That’s really why [Queer Nation] was created, to deal with other places where we’re being attacked,” remembers Morris.\u003c/p>\n\u003cp>Across the country, Queer Nation became best known for targeting cultural homophobia. Some of the San Francisco chapter’s first actions were kiss-ins, which would send hundreds of flamboyant lovers to a straight Marina bar or the Powell Street cable car turnaround, where they would make out en masse with gusto.\u003c/p>\n\u003cp>Focus group GHOST (Grand Homosexual Outrage at Sickening Televangelists) organized a rally to greet \u003ca href=\"https://www.apnews.com/1c940282ba516b1058d242fd482ebd9d\" target=\"_blank\" rel=\"noopener\">televangelists who’d flown in to exorcise the demons\u003c/a> of San Francisco on Halloween night of 1990. The evangelist-phobic crowd of thousands skipped off to the annual Castro neighborhood celebrations after overwhelming the city’s would-be saviors. Similarly irreverant, SHOP (Suburban Homosexual Outreach Program) fulfilled its moniker’s promise by surprising attendees at a special celebrity appearance of Hello Kitty at San Bruno’s Tanforan Shopping Center with a joyous melee of drag, balloons and banners.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Often, Queer Nation’s actions featured a chant that hasn’t left the lips of LGBTQ+ troublemakers since: “We’re here! We’re queer! Get used to it!”\u003c/p>\n\u003cp>For members of Queer Nation, style was key. The group’s many affiliated visual artists designed neon stickers with sayings like “Queers bash back” and “Dykes take over the world.” “Usually I wore boy drag like an ACT UP activist, but sometimes gurl drag—a wig and long hair, earrings and a dress or skirt,” remembers activist Derek Marshall Newman in an email to KQED. “It depended how cute I wanted look and how safe I felt.”\u003c/p>\n\u003cp>“We were queer people, so we had a sense of humor,” says \u003ca href=\"https://www.rachel-pepper.com/\" target=\"_blank\" rel=\"noopener\">Rachel Pepper\u003c/a>, an early Queer Nation member who played a key role in moderating general meetings. “There was a lot of camp, because when you are in the midst of a crisis and an epidemic you also have to laugh, and you have to find humor, and you have to love, and you have to live intensely every day, because you don’t know if you’re going to be alive in a year.”\u003c/p>\n\u003ch2>‘Queers bash back’\u003c/h2>\n\u003cp>In this pre-internet era, Queer Nation members communicated via their Queer Week newsletter and Queerline voicemail system. They coined the phrase “Queers bash back” for street patrols that walked the streets of San Francisco to thwart gay bashers, who seemed to stalk Dolores Park, and abusive cops, who were surely Queer Nation’s most hated adversaries. Often, the group would show up in solidarity at community anti-police and eviction protests.\u003c/p>\n\u003cp>In fact, intersectionality became a goal of the short-lived group. Among the group’s people of color-focused sub-groups was United Colors of Queer Nation, founded by activist \u003ca href=\"https://www.ebar.com/obituaries//248420\" target=\"_blank\" rel=\"noopener\">Karl Knapper\u003c/a>. It focused on amplifying the voices of activists of color in Queer Nation, and on developing practices that protected black and brown bodies at protests, such as physical placement at sit-ins and pre-event training on how to deal with police.\u003c/p>\n\u003cp>“That was one of the things that [white Queer Nation activists] wanted to do: a lot of civil disobedience,” remembers United Colors activist Thomas Tymstone, who, along with Pepper, also facilitated Queer Nation’s general assembly meetings. “That is great, but a lot of people of color don’t want to be arrested for any reason.”\u003c/p>\n\u003cp>Historian \u003ca href=\"https://independent.academia.edu/GKoskovich\" target=\"_blank\" rel=\"noopener\">Gerard Koskovich\u003c/a> was a legal observer during Queer Nation actions, taking notes in case there was a later need for a court witness to testify against police misconduct. Koskovich remembers how members who came from privileged backgrounds listened to stories fellow activists told about experiences with predatory law enforcement. These exchanges could oftentimes prove intense for would-be activists who became overwhelmed by the multiplicity of perspectives and the challenges they presented to creating a cohesive movement.\u003c/p>\n\u003cfigure id=\"attachment_13858225\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858225\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Patriot_Prayer_SF_counterprotest_20170826-8107-800x490.jpg\" alt=\"Queer Nation's confrontational tactics and slogans like "Queers bash back" continue to influence LGBTQ activists. Here, protesters carry a "Queers bash back" sign at a Patriot Prayer counter-demonstration in San Francisco in 2017.\" width=\"800\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Patriot_Prayer_SF_counterprotest_20170826-8107-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Patriot_Prayer_SF_counterprotest_20170826-8107-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Patriot_Prayer_SF_counterprotest_20170826-8107-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Patriot_Prayer_SF_counterprotest_20170826-8107-1020x625.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Patriot_Prayer_SF_counterprotest_20170826-8107-1200x735.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Patriot_Prayer_SF_counterprotest_20170826-8107.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queer Nation’s confrontational tactics and slogans like “Queers bash back” continue to influence LGBTQ activists. Here, protesters carry a “Queers bash back” sign at a Patriot Prayer counter-demonstration in San Francisco in 2017. \u003ccite>(Pax Ahimnsa Gethen/Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But sometimes, surprising moments of connection took place. As one of the group’s hard-working moderators, Tymstone remembers with fondness Queer Nation’s practice of the “fishbowl,” in which different focus groups could hold the floor and address their concerns uninterrupted by comments from the audience. “A lot of our organizational structure was made by women,” he says. “Gay men didn’t know anything about consensus. We would just talk until somebody let us—or until somebody heard us. [The women] would stop us and say, ‘Wait, let this person talk.'”\u003c/p>\n\u003cp>“For a period of time, at least, those meetings became much more of a space where people felt safe coming forward with these very tender, difficult things and saying, ‘Can we talk about this and help understand things better?'” Koskovich says. “Of course, it didn’t ultimately always work out that way, and how could it? But at least that was a moment.”\u003c/p>\n\u003cfigure id=\"attachment_13858227\" class=\"wp-caption aligncenter\" style=\"max-width: 574px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858227\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Queer_Nation_Houston_x6.jpg\" alt=\"Posters from Queer Nation's Houston chapter.\" width=\"574\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer_Nation_Houston_x6.jpg 574w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Queer_Nation_Houston_x6-160x124.jpg 160w\" sizes=\"(max-width: 574px) 100vw, 574px\">\u003cfigcaption class=\"wp-caption-text\">Posters from Queer Nation’s Houston chapter. \u003ccite>(WikiMedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The moment didn’t last forever. Queer Nation SF meetings dwindled by the end of 1991. Some members say the vast organization collapsed under difference in tactical preferences and the weight of trying to do too much. But in the cracks and crannies of San Francisco, some glitter from the Queer Nation days remain.\u003c/p>\n\u003cp>The group’s members went on to become writers, policymakers, historians, artists and scholars. Morris became an \u003ca href=\"https://kpfa.org/featured-episode/interview-with-jennifer-junkyard-morris/\" target=\"_blank\" rel=\"noopener\">eminent Bay Area film programmer\u003c/a> at Frameline Film Festival, SF DocFest and the Roxie Theater. \u003ca href=\"http://www.buffalo.edu/news/experts/jonathan-katz-queer-history.html\" target=\"_blank\" rel=\"noopener\">Jonathan David Katz\u003c/a> is a lauded academic who founded the \u003ca href=\"https://www.sfgate.com/news/article/Harvey-Milk-Institute-Opens-Gay-lesbian-studies-3049118.php\" target=\"_blank\" rel=\"noopener\">Harvey Milk Institute\u003c/a>, once one of the world’s largest centers for queer studies. And fellow alum \u003ca href=\"https://www.justinvivianbond.com/\" target=\"_blank\" rel=\"noopener\">Justin Vivian Bond\u003c/a> is a ground-breaking, Tony-nominated vocalist and founder of parodic lounge duo Kiki and Herb.\u003c/p>\n\u003cp>“It definitely shaped a generation of activists in terms of thinking about how they wanted to live their lives,” says Pepper, who helped found \u003ca href=\"http://www.curvemag.com\" target=\"_blank\" rel=\"noopener\">Curve Magazine\u003c/a> and wrote 1999’s \u003ca href=\"https://www.amazon.com/Ultimate-Guide-Pregnancy-Lesbians-Pre-conception/dp/157344216X\" target=\"_blank\" rel=\"noopener\">\u003cem>The Ultimate Guide to Pregnancy for Lesbians\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“There’s a real concrete, traceable network of people doing work that came out of the relationships built in that era,” says Koskovich.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Queer Nation’s activism was brief, but the group’s flouncy radicalism left a blueprint for younger generations: to make activism last, listen to those with different experiences. To heal, laugh. And to make change, be unabashedly, unapologetically loud.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As we celebrate the LGBTQ+ community’s diversity and resilience with our \u003cem>Pride as Protest\u003c/em> story series, we want to hear from you, our readers. [aside postid='arts_13835520']\u003c/p>\n\u003cp>We’re looking for photos of LGBTQ+ life over the decades—celebrations, protests, get-togethers with loved ones, cultural happenings and all the ways you express yourself. We welcome you to post your images to \u003ca href=\"https://twitter.com/KQEDarts?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a>, \u003ca href=\"https://www.instagram.com/kqed_arts/?hl=en\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> or KQED Arts’ \u003ca href=\"https://www.facebook.com/kqedarts/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> with the hashtag \u003cstrong>#MyPrideLooksLike\u003c/strong>. Don’t forget to include a note about who’s in the photo, and when and where it was taken, if you can remember. We’ll be collecting photos and reposting highlights to social media and our website.\u003c/p>\n\u003ch3>“#MyPrideLooksLike getting to explore California with the person I love.” — Ryan Levi\u003c/h3>\n\u003cfigure id=\"attachment_13858721\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858721\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/mypride-ryan-levi-800.jpg\" alt=\"Ryan Levi and Fares Akremi kayak on Lake Tahoe Labor Day weekend 2017.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mypride-ryan-levi-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mypride-ryan-levi-800-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mypride-ryan-levi-800-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Levi and Fares Akremi kayak on Lake Tahoe Labor Day weekend 2017. \u003ccite>(Fares Akremi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>If you’d prefer to send an image directly to us instead, here’s how:\u003c/h4>\n\u003cul>\n\u003cli>Text your photo to our private KQED Arts hotline at (510) 853-9328\u003c/li>\n\u003cli>Or you can email your submission to \u003ca href=\"mailto:artskqed@gmail.com\" target=\"_blank\" rel=\"noopener\">artskqed@gmail.com\u003c/a>.\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>\u003cem>Privacy Notice:\u003c/em>\u003c/strong> \u003cem>KQED is gathering these photos for our reporting and will not share your information with third parties. Your contact information will not be published, but we may contact you to expand your response into an audio segment or story. We may also feature your reflections on KQED’s website, social media or air.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cem>By posting and sharing a photo, you agree that you have the right and permission necessary to post the picture (e.g., that you own the copyright in the photo and that you have everyone’s consent in the photo to post it). You agree that KQED may publish the picture on our website, social media pages or in other media and that you will hold KQED harmless from any claims and expenses (including legal costs) arising from the use of the photo and/or your failure to comply with the rules set out in this disclaimer.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We’re looking for photos of LGBTQ+ life over the decades—celebrations, protests, get-togethers with loved ones, cultural happenings and all the ways you express yourself. We welcome you to post your images to \u003ca href=\"https://twitter.com/KQEDarts?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a>, \u003ca href=\"https://www.instagram.com/kqed_arts/?hl=en\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> or KQED Arts’ \u003ca href=\"https://www.facebook.com/kqedarts/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> with the hashtag \u003cstrong>#MyPrideLooksLike\u003c/strong>. Don’t forget to include a note about who’s in the photo, and when and where it was taken, if you can remember. We’ll be collecting photos and reposting highlights to social media and our website.\u003c/p>\n\u003ch3>“#MyPrideLooksLike getting to explore California with the person I love.” — Ryan Levi\u003c/h3>\n\u003cfigure id=\"attachment_13858721\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858721\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/mypride-ryan-levi-800.jpg\" alt=\"Ryan Levi and Fares Akremi kayak on Lake Tahoe Labor Day weekend 2017.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mypride-ryan-levi-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mypride-ryan-levi-800-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mypride-ryan-levi-800-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Levi and Fares Akremi kayak on Lake Tahoe Labor Day weekend 2017. \u003ccite>(Fares Akremi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>If you’d prefer to send an image directly to us instead, here’s how:\u003c/h4>\n\u003cul>\n\u003cli>Text your photo to our private KQED Arts hotline at (510) 853-9328\u003c/li>\n\u003cli>Or you can email your submission to \u003ca href=\"mailto:artskqed@gmail.com\" target=\"_blank\" rel=\"noopener\">artskqed@gmail.com\u003c/a>.\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>\u003cem>Privacy Notice:\u003c/em>\u003c/strong> \u003cem>KQED is gathering these photos for our reporting and will not share your information with third parties. Your contact information will not be published, but we may contact you to expand your response into an audio segment or story. We may also feature your reflections on KQED’s website, social media or air.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cem>By posting and sharing a photo, you agree that you have the right and permission necessary to post the picture (e.g., that you own the copyright in the photo and that you have everyone’s consent in the photo to post it). You agree that KQED may publish the picture on our website, social media pages or in other media and that you will hold KQED harmless from any claims and expenses (including legal costs) arising from the use of the photo and/or your failure to comply with the rules set out in this disclaimer.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The annual Pride celebration is one of San Francisco’s most popular festivities, drawing out hundreds of thousands of LGBTQ+ people, straight allies and visitors from all over the world. But before Pride became a mainstream institution endorsed by city officials, local police and corporations like Google and Facebook, it was a revolt.\u003c/p>\n\u003cp>Fifty years ago, on June 28, 1969, queer and trans patrons at New York’s Stonewall Inn, led by trans women of color, rioted against police harassment. The chaos continued for three days, tearing up the Greenwich Village block in defiance of restrictive anti-LGBTQ+ laws and police brutality. Radical organizations sprung from the uprising: Street Transvestite Action Revolutionaries (STAR), led by Marsha P. Johnson and Sylvia Rivera, fought for the rights of trans women and gender-nonconforming people who routinely faced harassment and discrimination. The Gay Liberation Front (GLF) attempted to unite the gay rights movement with anti-capitalist, anti-war movements of the time.\u003c/p>\n\u003cp>https://vimeo.com/338962572\u003c/p>\n\u003cp>\u003cem>KQED footage from 1973 shows an interview with vigilante group the Lavender Panthers, who armed gay people with clubs and red spray paint against police and homophobic violence. Video courtesy of KQED Archives.\u003c/em>\u003c/p>\n\u003cp>The anniversary of Stonewall inspired Pride celebrations all over the country in the early ’70s, but not everything was harmonious in those times. Many queer women felt alienated by the GLF’s mostly male membership, as well as in mostly straight radical feminist groups. Conversely, many lesbian activists at the time discriminated against trans women, who they argued benefited from “male privilege.” There was little acknowledgement of bisexual people, trans men, intersex people or non-binary people. And furthermore, many early gay rights organizations had a majority-white membership that was often tone-deaf to issues affecting queer and trans people of color.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://vimeo.com/338989968\u003c/p>\n\u003cp>\u003cem>KQED footage from 1970 shows a protest in front of San Francisco’s ABC/KGO-TV studios against homophobia in mass media. Video courtesy of KQED Archives.\u003c/em>\u003c/p>\n\u003cp>As flawed as it was, the early gay rights movement’s radical politics inspired decades of queer and trans organizing that endures today. In KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">\u003cem>Pride as Protest\u003c/em>\u003c/a> series, you’ll read about queer and trans elders, like Miss Major Griffin-Gracy, who forever changed history; dive into the LGTBQ+ community’s organizing efforts around the AIDS epidemic at a time when the federal government turned a blind eye; learn about the radical tactics of direct-action groups like \u003ca href=\"https://www.kqed.org/arts/13858167/queer-nation-lgbtq-activism-90s\" target=\"_blank\" rel=\"noopener\">Queer Nation\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13857994/activists-demand-a-police-free-pride-as-sfpd-ramps-up-its-gay-friendly-image\" rel=\"noopener\" target=\"_blank\">Gay Shame\u003c/a>; remember how \u003ca href=\"https://www.kqed.org/arts/13858290/sfs-first-black-owned-gay-bar-offered-refuge-from-racism-in-the-90s-queer-scene\" target=\"_blank\" rel=\"noopener\">San Francisco’s first black-owned gay bar\u003c/a> provided a refuge from racism and homophobia; and hear from drag queens using their craft as an art therapy tool for housing-insecure LGBTQ+ youth. [aside postid='arts_13858699']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>These stories run today through June 13, and we want to hear from you, our readers. We invite you to send in your photos of LGBTQ+ life for our \u003ca href=\"https://www.kqed.org/arts/13858699/mypridelookslike-share-photos-of-your-lgbtq-life-over-the-decades\" target=\"_blank\" rel=\"noopener\">#MyPrideLooksLike\u003c/a> project, which aims to showcase the diversity and resilience of our queer and trans community. The goal is to celebrate the different ways we express ourselves, and to remember Pride’s radical roots.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>KQED footage from 1970 shows a protest in front of San Francisco’s ABC/KGO-TV studios against homophobia in mass media. Video courtesy of KQED Archives.\u003c/em>\u003c/p>\n\u003cp>As flawed as it was, the early gay rights movement’s radical politics inspired decades of queer and trans organizing that endures today. In KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">\u003cem>Pride as Protest\u003c/em>\u003c/a> series, you’ll read about queer and trans elders, like Miss Major Griffin-Gracy, who forever changed history; dive into the LGTBQ+ community’s organizing efforts around the AIDS epidemic at a time when the federal government turned a blind eye; learn about the radical tactics of direct-action groups like \u003ca href=\"https://www.kqed.org/arts/13858167/queer-nation-lgbtq-activism-90s\" target=\"_blank\" rel=\"noopener\">Queer Nation\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13857994/activists-demand-a-police-free-pride-as-sfpd-ramps-up-its-gay-friendly-image\" rel=\"noopener\" target=\"_blank\">Gay Shame\u003c/a>; remember how \u003ca href=\"https://www.kqed.org/arts/13858290/sfs-first-black-owned-gay-bar-offered-refuge-from-racism-in-the-90s-queer-scene\" target=\"_blank\" rel=\"noopener\">San Francisco’s first black-owned gay bar\u003c/a> provided a refuge from racism and homophobia; and hear from drag queens using their craft as an art therapy tool for housing-insecure LGBTQ+ youth. \u003c/p>\u003c/div>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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