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Less taught, however, is the name of Larry Itliong, an influential Filipino labor organizer. A new stage production called \u003ca href=\"https://www.larrythemusical.com/\">\u003ci>Larry the Musical: An American Journey\u003c/i>\u003c/a>, which begins previews on March 16 and opens March 23 at the Brava Theater in San Francisco, hopes to change that.\u003c/p>\n\u003cp>“You must talk about the Filipino contribution when you talk about the farm labor movement,” says Gayle Romasanta, writer and executive producer of \u003ci>Larry the Musical\u003c/i> and co-author of the book \u003ca href=\"https://www.bridgedelta.com/purchase/journey-for-justice-the-life-of-larry-itliong\">\u003ci>Journey for Justice: The Life of Larry Itliong\u003c/i>\u003c/a> with late historian Dawn Mabalon.\u003c/p>\n\u003cfigure id=\"attachment_13954123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13954123\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-800x534.jpg\" alt=\"Women in casual clothes sit in folder changes in a row.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast members in ‘Larry the Musical’ in a scene for the song ‘Train.’ \u003ccite>(Joseph Gabriel Ilustrisimo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most notably, Romasanta says, you must talk about how Itliong and Filipino farm workers initiated the \u003ca href=\"https://www.nps.gov/articles/000/workers-united-the-delano-grape-strike-and-boycott.htm\">Delano Grape Strike\u003c/a> in 1965, which led to the launch of the United Farm Workers coalition, and brought Filipino workers, led by Itliong, and Mexican farm workers, led by Chavez and Huerta, together. But Romasanta says that activism by Filipino Americans during that time – and decades leading up to the strike – was often overlooked, both then and now.\u003c/p>\n\u003cp>“There was an anti-Asian sentiment in the media,” Romasanta says of coalition coverage. “It was a global campaign, but you didn’t see us. And in many of the murals today, you don’t see us.”\u003c/p>\n\u003cp>After publishing \u003ci>Journey for Justice\u003c/i> in 2018, Romasanta knew she wanted to bring Itliong’s story to life in other ways. After attending the Bay Area premiere of \u003ci>Allegiance\u003c/i>, a musical inspired by the life of Japanese American actor George Takei, she was spurred to action.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Most of the actors were Filipino, playing Japanese,” Romasanta says. “And we were thinking like, well, when is it our time? When can we actually do Broadway, but put our story in it? Larry Itliong’s story and the Filipino American community’s story.”\u003c/p>\n\u003cp>One of the Filipino actors in \u003ci>Allegiance\u003c/i> was \u003ca href=\"https://www.bryanpangilinan.com/\">Bryan Pangilinan\u003c/a>, a veteran in the Bay Area musical theater scene and a friend of Romasanta. Together, they started writing and composing the musical just before the pandemic hit. Now the show is hitting the stage, with a groundbreaking all-Filipino cast and creative team.\u003c/p>\n\u003cfigure id=\"attachment_13954124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13954124\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-800x479.jpg\" alt=\"A group photos of many Filipino men and women on a stage.\" width=\"800\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-1020x610.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-768x459.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-1536x919.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-1920x1148.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage.jpg 1956w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast and creative team members for ‘Larry the Musical’ on stage at the Brava Theater in San Francisco. \u003ccite>(Joseph Gabriel Ilustrisimo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The musical includes songs with titles like “Watsonville & Stockton,” about \u003ca href=\"https://calendar.eji.org/racial-injustice/jan/19\">the violence Filipinos faced\u003c/a> in the 1930s at the hands of white mobs, and “Solidarity Forever, Unity Always,” about the challenge of overcoming efforts from white growers to divide and conquer Filipino and Mexican farm workers fighting for workers’ rights.\u003c/p>\n\u003cp>“I honestly have to pinch myself a lot. Sometimes I can’t believe that we’re doing this,” says Pangilinan, who also executive produced alongside Romasanta. “I’m so excited to have the opportunity to infuse [song elements] that we grew up with and be unapologetically Filipino in the music.”\u003c/p>\n\u003cp>To co-compose the music, Pangilinan collaborated with another longtime Filipino artist in the Bay Area theater scene, \u003ca href=\"https://www.seankana.com/\">Sean Kana\u003c/a>. Kana, who also serves as music director, says audiences can look forward to a lot of musical styles reflecting Filipino culture.\u003c/p>\n\u003cp>“You’re going to hear pop, you’re going to hear jazz, you’re going to hear folk, you’re going to hear tango,” says Kana. “Which is all reminiscent of Filipino pop music. It’s a big mixtape.”\u003c/p>\n\u003cp>Hand in hand, the mixtape-style musical delivers a timely message about the fight for equal rights and the hard work of building solidarity to grow a movement for social change.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Larry the Musical: An American Journey’ runs from March 15 to April 14 at the Brava Theater (2781 24th St., San Francisco). \u003ca href=\"https://www.larrythemusical.com/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The new musical at Brava Theater, with an all-Filipino cast and creative team, honors organizer Larry Itliong.","status":"publish","parent":0,"modified":1710538226,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":685},"headData":{"title":"‘Larry the Musical’ Sets a Labor Leader’s Story to Song | KQED","description":"The new musical at Brava Theater, with an all-Filipino cast and creative team, honors organizer Larry Itliong.","ogTitle":"A Labor Leader’s Legacy Is Set in Song With ‘Larry the Musical’","ogDescription":"","ogImgId":"","twTitle":"A Labor Leader’s Legacy Is Set in Song With ‘Larry the Musical’","twDescription":"","twImgId":"","socialTitle":"‘Larry the Musical’ Sets a Labor Leader’s Story to Song %%page%% %%sep%% KQED"},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/069f329f-1876-4340-b7d1-b1340101f5d3/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954121/larry-the-musical-brava-theater-larry-itliong-filipino-labor-organizer","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In California labor history lessons, the names Cesar Chavez and Dolores Huerta are well known. Less taught, however, is the name of Larry Itliong, an influential Filipino labor organizer. A new stage production called \u003ca href=\"https://www.larrythemusical.com/\">\u003ci>Larry the Musical: An American Journey\u003c/i>\u003c/a>, which begins previews on March 16 and opens March 23 at the Brava Theater in San Francisco, hopes to change that.\u003c/p>\n\u003cp>“You must talk about the Filipino contribution when you talk about the farm labor movement,” says Gayle Romasanta, writer and executive producer of \u003ci>Larry the Musical\u003c/i> and co-author of the book \u003ca href=\"https://www.bridgedelta.com/purchase/journey-for-justice-the-life-of-larry-itliong\">\u003ci>Journey for Justice: The Life of Larry Itliong\u003c/i>\u003c/a> with late historian Dawn Mabalon.\u003c/p>\n\u003cfigure id=\"attachment_13954123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13954123\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-800x534.jpg\" alt=\"Women in casual clothes sit in folder changes in a row.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast members in ‘Larry the Musical’ in a scene for the song ‘Train.’ \u003ccite>(Joseph Gabriel Ilustrisimo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most notably, Romasanta says, you must talk about how Itliong and Filipino farm workers initiated the \u003ca href=\"https://www.nps.gov/articles/000/workers-united-the-delano-grape-strike-and-boycott.htm\">Delano Grape Strike\u003c/a> in 1965, which led to the launch of the United Farm Workers coalition, and brought Filipino workers, led by Itliong, and Mexican farm workers, led by Chavez and Huerta, together. But Romasanta says that activism by Filipino Americans during that time – and decades leading up to the strike – was often overlooked, both then and now.\u003c/p>\n\u003cp>“There was an anti-Asian sentiment in the media,” Romasanta says of coalition coverage. “It was a global campaign, but you didn’t see us. And in many of the murals today, you don’t see us.”\u003c/p>\n\u003cp>After publishing \u003ci>Journey for Justice\u003c/i> in 2018, Romasanta knew she wanted to bring Itliong’s story to life in other ways. After attending the Bay Area premiere of \u003ci>Allegiance\u003c/i>, a musical inspired by the life of Japanese American actor George Takei, she was spurred to action.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Most of the actors were Filipino, playing Japanese,” Romasanta says. “And we were thinking like, well, when is it our time? When can we actually do Broadway, but put our story in it? Larry Itliong’s story and the Filipino American community’s story.”\u003c/p>\n\u003cp>One of the Filipino actors in \u003ci>Allegiance\u003c/i> was \u003ca href=\"https://www.bryanpangilinan.com/\">Bryan Pangilinan\u003c/a>, a veteran in the Bay Area musical theater scene and a friend of Romasanta. Together, they started writing and composing the musical just before the pandemic hit. Now the show is hitting the stage, with a groundbreaking all-Filipino cast and creative team.\u003c/p>\n\u003cfigure id=\"attachment_13954124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13954124\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-800x479.jpg\" alt=\"A group photos of many Filipino men and women on a stage.\" width=\"800\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-1020x610.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-768x459.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-1536x919.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-1920x1148.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage.jpg 1956w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast and creative team members for ‘Larry the Musical’ on stage at the Brava Theater in San Francisco. \u003ccite>(Joseph Gabriel Ilustrisimo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The musical includes songs with titles like “Watsonville & Stockton,” about \u003ca href=\"https://calendar.eji.org/racial-injustice/jan/19\">the violence Filipinos faced\u003c/a> in the 1930s at the hands of white mobs, and “Solidarity Forever, Unity Always,” about the challenge of overcoming efforts from white growers to divide and conquer Filipino and Mexican farm workers fighting for workers’ rights.\u003c/p>\n\u003cp>“I honestly have to pinch myself a lot. Sometimes I can’t believe that we’re doing this,” says Pangilinan, who also executive produced alongside Romasanta. “I’m so excited to have the opportunity to infuse [song elements] that we grew up with and be unapologetically Filipino in the music.”\u003c/p>\n\u003cp>To co-compose the music, Pangilinan collaborated with another longtime Filipino artist in the Bay Area theater scene, \u003ca href=\"https://www.seankana.com/\">Sean Kana\u003c/a>. Kana, who also serves as music director, says audiences can look forward to a lot of musical styles reflecting Filipino culture.\u003c/p>\n\u003cp>“You’re going to hear pop, you’re going to hear jazz, you’re going to hear folk, you’re going to hear tango,” says Kana. “Which is all reminiscent of Filipino pop music. It’s a big mixtape.”\u003c/p>\n\u003cp>Hand in hand, the mixtape-style musical delivers a timely message about the fight for equal rights and the hard work of building solidarity to grow a movement for social change.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Larry the Musical: An American Journey’ runs from March 15 to April 14 at the Brava Theater (2781 24th St., San Francisco). \u003ca href=\"https://www.larrythemusical.com/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954121/larry-the-musical-brava-theater-larry-itliong-filipino-labor-organizer","authors":["11296"],"programs":["arts_140"],"categories":["arts_1","arts_7862","arts_1003","arts_967"],"tags":["arts_10278","arts_2855","arts_2639","arts_13825","arts_585"],"featImg":"arts_13954122","label":"arts_140"},"arts_13952372":{"type":"posts","id":"arts_13952372","meta":{"index":"posts_1591205157","site":"arts","id":"13952372","score":null,"sort":[1708035796000]},"guestAuthors":[],"slug":"aja-monet-poetry-interview-noise-pop-san-francisco","title":"How the Struggle for Liberation Made aja monet Into a Poet","publishDate":1708035796,"format":"standard","headTitle":"How the Struggle for Liberation Made aja monet Into a Poet | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In an age of information overload and doom scrolling, poetry is essential. A good poem can cut to the core of an issue more immediately than an entire tome of research. It can jolt you awake, stir you to action or whisk you into a dream space in which you completely reimagine your life and its possibilities.\u003c/p>\n\u003cp>In her work, \u003ca href=\"https://ajamonet.com/\">aja monet\u003c/a> accomplishes all of the above. The New York-raised, L.A.-based writer and performer calls herself a “surrealist blues poet.” Her Grammy-nominated 2023 album \u003ci>when the poems do what they do\u003c/i> pairs her words — alternately searing, comforting, grief-stricken or romantic — with jazz grounded in Afro-Caribbean rhythms. (Keyboard and flute stylings by Berkeley-raised siblings \u003ca href=\"https://www.kqed.org/arts/13911226/samora-pinderhughes-ybca-the-healing-project\">Samora\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13931138/liner-notes-flutist-and-vocalist-elena-pinderhughes-is-limitless\">Elena Pinderhughes\u003c/a> add to the record’s dynamic emotional landscape.)\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3097307146/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>monet’s years of community organizing inform her heart-swelling invocations of love and gut-wrenching reflections on violence inflicted upon Black Americans. She spent years in Florida working with \u003ca href=\"https://www.dreamdefenders.org/\">Dream Defenders\u003c/a>, a prison abolitionist organization formed after the killing of Trayvon Martin, and the \u003ca href=\"https://communityjusticeproject.com/\">Community Justice Project\u003c/a>, which offers free legal aid in Miami. When her star as a poet began to rise after winning the Nuyorican Poets Cafe Grand Slam competition in 2007, monet had already spent years immersed in work instead of chasing accolades. Her numerous poetry books and debut album alike blossomed out of the movement.\u003c/p>\n\u003cp>In addition to fighting for racial justice, monet has long been an advocate for Palestinian liberation, using her words to draw throughlines between human rights struggles around the globe. Most recently, she authored the foreword to \u003ca href=\"https://www.haymarketbooks.org/books/1744-rifqa\">\u003ci>Rifqa\u003c/i>\u003c/a>, the debut poetry collection by Palestinian writer, activist and \u003ca href=\"https://www.thenation.com/authors/mohammed-el-kurd/\">\u003ci>The Nation\u003c/i>\u003c/a> correspondent \u003ca href=\"https://www.mohammedelkurd.com/\">Muhammed El-Kurd\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After sharing potent renditions of her poems on NPR’s Tiny Desk Concert last year, monet and her band make their San Francisco debut at the \u003ca href=\"http://events.noisepop.com/events/2024/2/29/aja-monet-tickets\">Swedish American Hall as part of Noise Pop\u003c/a> on Feb. 29. Ahead of the show, I spoke with her about writing for liberation, her growing platform and how her work resonates with the Bay’s deep legacy of revolutionary organizing.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13952375\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952375\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974.jpg\" alt=\"A poet recites on stage with a keyboard player in the background.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">aja monet performs during 2022 BRIC celebrate Brooklyn at Lena Horne Bandshell at Prospect Park on July 08, 2022 in New York City. \u003ccite>(Jason Mendez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Nastia Voynovskaya: \u003c/b>I’m excited that Noise Pop will be your first time performing in San Francisco. You’ve cited [Black Arts Movement co-founder and former San Francisco State University professor] Amiri Baraka and [\u003ci>for colored girls who have considered suicide\u003c/i> playwright] Ntozake Shange as influences, both of whom had a huge impact here in the Bay Area. What excites you about performing in the Bay Area in particular?\u003c/p>\n\u003cp>\u003cb>aja monet:\u003c/b> I think about the cultural legacy of what the Bay Area has created, in terms of people who have made an incredible impact, in this country and in the world. There’s the cultural work, but then there’s the organizing work that has made a huge impact on our movement and the ways that we approach ideas about social justice and freedom.\u003c/p>\n\u003cp>The Bay has a lot of significance to me. It was one of the first places I traveled on my own for a poetry competition when I was about 17 for Brave New Voices, which was hosted by Youth Speaks. Some of my best friends that I adore are from the Bay, and some of my favorite poets are from the Bay.\u003c/p>\n\u003cp>\u003cb>When you mention your favorite poets from the Bay, who comes to mind? \u003c/b>[aside postid='arts_13916674']\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/tongo-eisen-martin\">Tongo Eisen-Martin\u003c/a>, \u003ca href=\"https://www.instagram.com/chinakahodge/\">Chinaka Hodge\u003c/a>. \u003ca href=\"https://mobrowne.com/index.html\">Mahogany Browne\u003c/a> is originally from the Bay. June Jordan isn’t from the Bay, but she spent some time at Berkeley, and one of the most influential programs that she implemented has been a guiding light and force for me as an educator, as an organizer and a facilitator. So thinking about the revolutionary blueprint of \u003ca href=\"https://africam.berkeley.edu/poetry-for-the-people/\">Poetry for the People\u003c/a> and what she was able to implement at UC Berkeley.\u003c/p>\n\u003cp>\u003cb>You’ve been an organizer for years. Whether it’s Black liberation or Palestinian liberation, these are long, multi-generational fights. How does poetry help fuel and sustain these movements for the long haul?\u003c/b>\u003c/p>\n\u003cp>I don’t want to make blanket statements about poetry because not all poets are effective in this way. Certain poets have reflected establishment values and have been very focused on an objective that is rooted in accolades and awards.\u003c/p>\n\u003cp>Then there are poets who understand poetry as the function of the people’s heart and spirit and truth. Poetry, to me, is more of an approach. It’s a way of being in the world. When I think about that, I think about poetry as the measure of one’s true devotion to their craft. And so when I say someone dances like a poet, or someone sings like a poet, or someone plays an instrument like a poet, what I’m saying is they have a very different sort of profound orientation toward their gift. It’s taking it to an elevated dimension, and it’s bringing it new meaning and depth. And so I think poetry is really like a possessive, obsessive sort of devotion that transcends into a deeper sort of core truth that is really resonant to the spirit. [pullquote citation='aja monet' size='large']‘I don’t think poets create movements; I think movements create poets.’[/pullquote]\u003c/p>\n\u003cp>It’s no longer just a surface-level approach to an idea or a deep emotion that we all struggle with as humans, whether that be love or anger or war, frustration or death. It’s really delving into why, how, who, what’s the meaning behind that happening. And I think that when you can harness that sort of depth, it automatically elevates the consciousness of the people and the value system and the North Star — the thing that one ends up working towards.\u003c/p>\n\u003cp>So movements are incredibly powerful for the poets that are created through them. I don’t think poets create movements; I think movements create poets. When one is really accessing that real, urgent depth, then I think that all of us are transformed by that pursuit. It’s delving into the interior landscape, which is what we usually say is ultimately the final frontier of our freedom movements.\u003c/p>\n\u003cp>https://youtu.be/_Y-X9CpSiQ0?si=R1gqf8oBAoH8GSps\u003c/p>\n\u003cp>\u003cb>Live music is a big component of your work. Why is that important to you, and how does it change how the audience might receive your words?\u003c/b>\u003c/p>\n\u003cp>I’ve always seen myself as a sort of word musician. Finding musicians who hope to elevate what you’re doing, to be in conversation with you — I mean, that’s ultimately the dream, because being a poet on a stage by yourself is pretty lonely. The co-creative part of being with the band is what excites me, and it allows me to be less in my head and more playful. You feel more protected. You’re on a battlefield with others, with fellow soldiers that are trying to struggle with ideas and cultural norms and push against structures that have kept us from really expressing ourselves with authenticity.\u003c/p>\n\u003cp>Ultimately on the stage, it’s one of the few places where Black people are able to express the full range of one’s emotions without the threat of death. One can be utterly angry, upset, crazed, even ecstatic, enthused, joyful. The range of our full humanity is safe when it’s seen as a performance. But what we do is — we ultimately know we’re doing ceremony. We’re doing spirit work. And I think somehow the stage protects that work. What the West has made into a consumer capitalist venture, it ultimately is really just ceremony, displaced.\u003c/p>\n\u003cfigure id=\"attachment_13952374\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952374\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565.jpg\" alt=\"A woman poses on the red carpet.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">aja monet attends the 66th GRAMMY Awards at Crypto.com Arena on February 04, 2024 in Los Angeles, California. \u003ccite>(Jeff Kravitz/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb> Powerfully said. With your recent Grammy nomination, you’re getting recognized on a much larger platform. How does it feel getting validation from the entertainment industry?\u003c/b>\u003c/p>\n\u003cp>I don’t know if I’ve necessarily been acknowledged by the establishment quite yet. For me, the most meaningful thing about the nomination was people being excited about the work. Ultimately it takes people to say, “Nah, yo, whether they give this record an award or not … I’m going to support it because I know that it’s actually a quality thing done with intention, done with skill, with artistry, with creativity, with innovation, with spirit, with soul, with Black people in mind” — whatever it is that your metrics are.\u003c/p>\n\u003cp>We have to have some sort of, what are we measuring our worth towards? Who determines our value? And to me, it’ll always be the people. So that’s why I keep trying to remind folks, you know, when you like something, when you love something, when something really resonates with you, support it in every way, shape or form. We usually wait until we’re dead and gone to get our flowers. That’s kind of the expectation of poets, at least. Any opportunity as a living poet to be able to be appreciated and valued, I will never take for granted, ever.\u003c/p>\n\u003cp>If I could give awards to Sekou Sindiata, Amiri Baraka, June Jordan, I would give them all the awards they deserved and never got. As Black folks, as people of this time who care about the heart, the spirit, the soul, integrity, we have to not wait until people are dead and gone to acknowledge the impact of the work, and we must find ways to celebrate the things we love that don’t have us searching outside of ourselves for validation.\u003c/p>\n\u003cp>\u003cb>Well said. Now that you have more people’s attention, how do you want to use this moment?\u003c/b>\u003c/p>\n\u003cp>There are myriad issues that we are facing as humans in this time, in this life. And if I’m obedient to the gifts, if I’m obedient to the calling, then the work will do what it needs to do for this time.\u003c/p>\n\u003cp>That’s the way I have been orienting myself. Before, I used to think, “Well, I gotta speak to this. I gotta touch on this.” I think poetry in and of itself and how one moves, how one thinks and how one loves and how one relates — that’s how you show your values, and that’s how you show the concerns of the time. [aside postid='arts_13937865']\u003c/p>\n\u003cp>And so I’m not concerned with Palestine because it’s popular and everybody’s talking about it right now, and now people see, “Oh wow, it’s a genocide.” I’m concerned with Palestine because I have relationships with people who are Palestinian, who have changed my life. I’m concerned with Palestine because it affects my day-to-day life. You know what I mean? I’m concerned with the Congo because I have relationships with people that have impacted my life, and I know how this impacts the day-to-day of their lives.\u003c/p>\n\u003cp>So it’s not so much of like, “OK, well now I have attention. So let me bring everybody to this thing.” It’s just, how do you remain steadfast, consistent and of service to one’s calling and gift and be truthful to that and sincere to that? And hopefully, the truth will rise. The meat of it, the heart of it, the spirit and the musicality of it will reflect the best of who you are and what you’re trying to struggle with and the ideas you’re working through.\u003c/p>\n\u003cp>So I think it’ll change. I think I just want to continue to be able to create and to be provided the resources, the access, the ability to reach the people that I care about. So long as I’m here, let me just continue. I want to continue to do what I’m here to do.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>aja monet performs Thursday, Feb. 29, at the Swedish American Hall in San Francisco as part of Noise Pop. \u003ca href=\"http://events.noisepop.com/events/2024/2/29/aja-monet-tickets\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Ahead of her SF debut at Noise Pop, the organizer and Grammy-nominated poet talks politics, Palestine and process. ","status":"publish","parent":0,"modified":1708036302,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=3097307146/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":34,"wordCount":2125},"headData":{"title":"How the Struggle for Liberation Made aja monet Into a Poet | KQED","description":"Ahead of her SF debut at Noise Pop, the organizer and Grammy-nominated poet talks politics, Palestine and process. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952372/aja-monet-poetry-interview-noise-pop-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an age of information overload and doom scrolling, poetry is essential. A good poem can cut to the core of an issue more immediately than an entire tome of research. It can jolt you awake, stir you to action or whisk you into a dream space in which you completely reimagine your life and its possibilities.\u003c/p>\n\u003cp>In her work, \u003ca href=\"https://ajamonet.com/\">aja monet\u003c/a> accomplishes all of the above. The New York-raised, L.A.-based writer and performer calls herself a “surrealist blues poet.” Her Grammy-nominated 2023 album \u003ci>when the poems do what they do\u003c/i> pairs her words — alternately searing, comforting, grief-stricken or romantic — with jazz grounded in Afro-Caribbean rhythms. (Keyboard and flute stylings by Berkeley-raised siblings \u003ca href=\"https://www.kqed.org/arts/13911226/samora-pinderhughes-ybca-the-healing-project\">Samora\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13931138/liner-notes-flutist-and-vocalist-elena-pinderhughes-is-limitless\">Elena Pinderhughes\u003c/a> add to the record’s dynamic emotional landscape.)\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3097307146/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>monet’s years of community organizing inform her heart-swelling invocations of love and gut-wrenching reflections on violence inflicted upon Black Americans. She spent years in Florida working with \u003ca href=\"https://www.dreamdefenders.org/\">Dream Defenders\u003c/a>, a prison abolitionist organization formed after the killing of Trayvon Martin, and the \u003ca href=\"https://communityjusticeproject.com/\">Community Justice Project\u003c/a>, which offers free legal aid in Miami. When her star as a poet began to rise after winning the Nuyorican Poets Cafe Grand Slam competition in 2007, monet had already spent years immersed in work instead of chasing accolades. Her numerous poetry books and debut album alike blossomed out of the movement.\u003c/p>\n\u003cp>In addition to fighting for racial justice, monet has long been an advocate for Palestinian liberation, using her words to draw throughlines between human rights struggles around the globe. Most recently, she authored the foreword to \u003ca href=\"https://www.haymarketbooks.org/books/1744-rifqa\">\u003ci>Rifqa\u003c/i>\u003c/a>, the debut poetry collection by Palestinian writer, activist and \u003ca href=\"https://www.thenation.com/authors/mohammed-el-kurd/\">\u003ci>The Nation\u003c/i>\u003c/a> correspondent \u003ca href=\"https://www.mohammedelkurd.com/\">Muhammed El-Kurd\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After sharing potent renditions of her poems on NPR’s Tiny Desk Concert last year, monet and her band make their San Francisco debut at the \u003ca href=\"http://events.noisepop.com/events/2024/2/29/aja-monet-tickets\">Swedish American Hall as part of Noise Pop\u003c/a> on Feb. 29. Ahead of the show, I spoke with her about writing for liberation, her growing platform and how her work resonates with the Bay’s deep legacy of revolutionary organizing.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13952375\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952375\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974.jpg\" alt=\"A poet recites on stage with a keyboard player in the background.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">aja monet performs during 2022 BRIC celebrate Brooklyn at Lena Horne Bandshell at Prospect Park on July 08, 2022 in New York City. \u003ccite>(Jason Mendez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Nastia Voynovskaya: \u003c/b>I’m excited that Noise Pop will be your first time performing in San Francisco. You’ve cited [Black Arts Movement co-founder and former San Francisco State University professor] Amiri Baraka and [\u003ci>for colored girls who have considered suicide\u003c/i> playwright] Ntozake Shange as influences, both of whom had a huge impact here in the Bay Area. What excites you about performing in the Bay Area in particular?\u003c/p>\n\u003cp>\u003cb>aja monet:\u003c/b> I think about the cultural legacy of what the Bay Area has created, in terms of people who have made an incredible impact, in this country and in the world. There’s the cultural work, but then there’s the organizing work that has made a huge impact on our movement and the ways that we approach ideas about social justice and freedom.\u003c/p>\n\u003cp>The Bay has a lot of significance to me. It was one of the first places I traveled on my own for a poetry competition when I was about 17 for Brave New Voices, which was hosted by Youth Speaks. Some of my best friends that I adore are from the Bay, and some of my favorite poets are from the Bay.\u003c/p>\n\u003cp>\u003cb>When you mention your favorite poets from the Bay, who comes to mind? \u003c/b>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13916674","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/tongo-eisen-martin\">Tongo Eisen-Martin\u003c/a>, \u003ca href=\"https://www.instagram.com/chinakahodge/\">Chinaka Hodge\u003c/a>. \u003ca href=\"https://mobrowne.com/index.html\">Mahogany Browne\u003c/a> is originally from the Bay. June Jordan isn’t from the Bay, but she spent some time at Berkeley, and one of the most influential programs that she implemented has been a guiding light and force for me as an educator, as an organizer and a facilitator. So thinking about the revolutionary blueprint of \u003ca href=\"https://africam.berkeley.edu/poetry-for-the-people/\">Poetry for the People\u003c/a> and what she was able to implement at UC Berkeley.\u003c/p>\n\u003cp>\u003cb>You’ve been an organizer for years. Whether it’s Black liberation or Palestinian liberation, these are long, multi-generational fights. How does poetry help fuel and sustain these movements for the long haul?\u003c/b>\u003c/p>\n\u003cp>I don’t want to make blanket statements about poetry because not all poets are effective in this way. Certain poets have reflected establishment values and have been very focused on an objective that is rooted in accolades and awards.\u003c/p>\n\u003cp>Then there are poets who understand poetry as the function of the people’s heart and spirit and truth. Poetry, to me, is more of an approach. It’s a way of being in the world. When I think about that, I think about poetry as the measure of one’s true devotion to their craft. And so when I say someone dances like a poet, or someone sings like a poet, or someone plays an instrument like a poet, what I’m saying is they have a very different sort of profound orientation toward their gift. It’s taking it to an elevated dimension, and it’s bringing it new meaning and depth. And so I think poetry is really like a possessive, obsessive sort of devotion that transcends into a deeper sort of core truth that is really resonant to the spirit. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I don’t think poets create movements; I think movements create poets.’","name":"pullquote","attributes":{"named":{"citation":"aja monet","size":"large","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s no longer just a surface-level approach to an idea or a deep emotion that we all struggle with as humans, whether that be love or anger or war, frustration or death. It’s really delving into why, how, who, what’s the meaning behind that happening. And I think that when you can harness that sort of depth, it automatically elevates the consciousness of the people and the value system and the North Star — the thing that one ends up working towards.\u003c/p>\n\u003cp>So movements are incredibly powerful for the poets that are created through them. I don’t think poets create movements; I think movements create poets. When one is really accessing that real, urgent depth, then I think that all of us are transformed by that pursuit. It’s delving into the interior landscape, which is what we usually say is ultimately the final frontier of our freedom movements.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_Y-X9CpSiQ0'\n title='//www.youtube.com/embed/_Y-X9CpSiQ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Live music is a big component of your work. Why is that important to you, and how does it change how the audience might receive your words?\u003c/b>\u003c/p>\n\u003cp>I’ve always seen myself as a sort of word musician. Finding musicians who hope to elevate what you’re doing, to be in conversation with you — I mean, that’s ultimately the dream, because being a poet on a stage by yourself is pretty lonely. The co-creative part of being with the band is what excites me, and it allows me to be less in my head and more playful. You feel more protected. You’re on a battlefield with others, with fellow soldiers that are trying to struggle with ideas and cultural norms and push against structures that have kept us from really expressing ourselves with authenticity.\u003c/p>\n\u003cp>Ultimately on the stage, it’s one of the few places where Black people are able to express the full range of one’s emotions without the threat of death. One can be utterly angry, upset, crazed, even ecstatic, enthused, joyful. The range of our full humanity is safe when it’s seen as a performance. But what we do is — we ultimately know we’re doing ceremony. We’re doing spirit work. And I think somehow the stage protects that work. What the West has made into a consumer capitalist venture, it ultimately is really just ceremony, displaced.\u003c/p>\n\u003cfigure id=\"attachment_13952374\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952374\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565.jpg\" alt=\"A woman poses on the red carpet.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">aja monet attends the 66th GRAMMY Awards at Crypto.com Arena on February 04, 2024 in Los Angeles, California. \u003ccite>(Jeff Kravitz/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb> Powerfully said. With your recent Grammy nomination, you’re getting recognized on a much larger platform. How does it feel getting validation from the entertainment industry?\u003c/b>\u003c/p>\n\u003cp>I don’t know if I’ve necessarily been acknowledged by the establishment quite yet. For me, the most meaningful thing about the nomination was people being excited about the work. Ultimately it takes people to say, “Nah, yo, whether they give this record an award or not … I’m going to support it because I know that it’s actually a quality thing done with intention, done with skill, with artistry, with creativity, with innovation, with spirit, with soul, with Black people in mind” — whatever it is that your metrics are.\u003c/p>\n\u003cp>We have to have some sort of, what are we measuring our worth towards? Who determines our value? And to me, it’ll always be the people. So that’s why I keep trying to remind folks, you know, when you like something, when you love something, when something really resonates with you, support it in every way, shape or form. We usually wait until we’re dead and gone to get our flowers. That’s kind of the expectation of poets, at least. Any opportunity as a living poet to be able to be appreciated and valued, I will never take for granted, ever.\u003c/p>\n\u003cp>If I could give awards to Sekou Sindiata, Amiri Baraka, June Jordan, I would give them all the awards they deserved and never got. As Black folks, as people of this time who care about the heart, the spirit, the soul, integrity, we have to not wait until people are dead and gone to acknowledge the impact of the work, and we must find ways to celebrate the things we love that don’t have us searching outside of ourselves for validation.\u003c/p>\n\u003cp>\u003cb>Well said. Now that you have more people’s attention, how do you want to use this moment?\u003c/b>\u003c/p>\n\u003cp>There are myriad issues that we are facing as humans in this time, in this life. And if I’m obedient to the gifts, if I’m obedient to the calling, then the work will do what it needs to do for this time.\u003c/p>\n\u003cp>That’s the way I have been orienting myself. Before, I used to think, “Well, I gotta speak to this. I gotta touch on this.” I think poetry in and of itself and how one moves, how one thinks and how one loves and how one relates — that’s how you show your values, and that’s how you show the concerns of the time. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13937865","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And so I’m not concerned with Palestine because it’s popular and everybody’s talking about it right now, and now people see, “Oh wow, it’s a genocide.” I’m concerned with Palestine because I have relationships with people who are Palestinian, who have changed my life. I’m concerned with Palestine because it affects my day-to-day life. You know what I mean? I’m concerned with the Congo because I have relationships with people that have impacted my life, and I know how this impacts the day-to-day of their lives.\u003c/p>\n\u003cp>So it’s not so much of like, “OK, well now I have attention. So let me bring everybody to this thing.” It’s just, how do you remain steadfast, consistent and of service to one’s calling and gift and be truthful to that and sincere to that? And hopefully, the truth will rise. The meat of it, the heart of it, the spirit and the musicality of it will reflect the best of who you are and what you’re trying to struggle with and the ideas you’re working through.\u003c/p>\n\u003cp>So I think it’ll change. I think I just want to continue to be able to create and to be provided the resources, the access, the ability to reach the people that I care about. So long as I’m here, let me just continue. I want to continue to do what I’m here to do.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>aja monet performs Thursday, Feb. 29, at the Swedish American Hall in San Francisco as part of Noise Pop. \u003ca href=\"http://events.noisepop.com/events/2024/2/29/aja-monet-tickets\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952372/aja-monet-poetry-interview-noise-pop-san-francisco","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835","arts_69","arts_1003"],"tags":["arts_10278","arts_1022","arts_1496","arts_585"],"featImg":"arts_13952417","label":"arts_140"},"arts_13940282":{"type":"posts","id":"arts_13940282","meta":{"index":"posts_1591205157","site":"arts","id":"13940282","score":null,"sort":[1704916893000]},"guestAuthors":[],"slug":"artists-against-genocide-counterpulse","title":"‘Artists Against Genocide’ Aims to Educate, Heal and Mobilize in SF","publishDate":1704916893,"format":"standard","headTitle":"‘Artists Against Genocide’ Aims to Educate, Heal and Mobilize in SF | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Black feminist writer Toni Cade Bambara once declared that the role of the artist is to “make the revolution irresistible.” That mantra has guided the organizers of \u003ca href=\"https://www.instagram.com/p/C0zUMCeR4XE/?img_index=1\">Artists Against Genocide\u003c/a>, a 14-hour event that invites the public to learn, grieve and organize around the human rights crises in \u003ca href=\"https://www.kqed.org/news/tag/gaza\">Gaza\u003c/a>, the \u003ca href=\"https://www.nytimes.com/2023/12/17/world/africa/democratic-republic-of-congo-elections.html\">Democratic Republic of Congo\u003c/a>, \u003ca href=\"https://www.aljazeera.com/features/2024/1/9/sudans-army-is-retaliating-against-activists-amid-the-war-for-their-role-in-bringing-down-their-former-boss-and-president-omar-al-bashir-in-april-2019\">Sudan\u003c/a> and \u003ca href=\"https://www.un.org/en/information-center-washington/haiti%E2%80%99s-harrowing-humanitarian-crisis-remains-top-united-nations%E2%80%99\">Haiti\u003c/a> on Jan. 14 at San Francisco art space \u003ca href=\"https://counterpulse.org/\">CounterPulse\u003c/a>.\u003c/p>\n\u003cp>“We’re making it something that is exciting and also communal,” says Chibueze Crouch, who put together the event with fellow theater, dance and performing artists Styles Alexander, Clarissa Dyas, Kim Ip and Ainsley Tharp.\u003c/p>\n\u003cfigure id=\"attachment_13940290\" class=\"wp-caption alignright\" style=\"max-width: 1074px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940290\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers.png\" alt=\"A Zoom screenshot of five smiling artists and organizers. \" width=\"1074\" height=\"1606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers.png 1074w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-1020x1525.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-768x1148.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-1027x1536.png 1027w\" sizes=\"(max-width: 1074px) 100vw, 1074px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left: Styles Alexander, Ainsley Tharp, Kim Ip, Chibueze Crouch and Clarissa Dyas. \u003ccite>(Courtesy of Chibueze Crouch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The all-day event offers panels and teach-ins, with speakers that include \u003ca href=\"https://www.palestineinamerica.com/blog/A%20Palestinian%20you%20should%20know:%20Sharif%20Zakout\">Sharif Zakout\u003c/a> of \u003ca href=\"https://www.araborganizing.org/\">Arab Resource and Organizing Center\u003c/a> and \u003ca href=\"https://www.kqed.org/news/tag/cat-brooks\">Cat Brooks\u003c/a> of \u003ca href=\"https://www.antipoliceterrorproject.org/\">Anti Police-Terror Project\u003c/a>, with support from local record label \u003ca href=\"https://7000coils.com/\">7000COILS\u003c/a>. Dancer, choreographer and Yoruba priest \u003ca href=\"https://www.kqed.org/news/11953660/the-kitchen-sisters-present-house-full-of-black-women\">Amara Tabor-Smith\u003c/a> will lead a movement workshop aimed at helping attendees process and release emotions. And a protest poster-making station and phone booths for calling legislators will offer space for participants to channel their sorrow, rage and solidarity into action.\u003c/p>\n\u003cp>“We’re also having a potluck,” says Alexander. “That’s so crucial in these moments — just breaking bread together.”\u003c/p>\n\u003cp>Alexander, who is a member of the queer performance collective Rupture, one of the first arts groups in the Bay Area to put out a \u003ca href=\"https://www.instagram.com/p/Cz2sl4NLwh3/?img_index=1\">formal statement of solidarity with Gaza\u003c/a>, began dreaming up Artists Against Genocide in October. They and their co-organizers anticipated that, by January, there could be some fatigue among the public after months of protesting and calling Congress to demand a ceasefire.\u003c/p>\n\u003cp>“It’s the day before Martin Luther King Day, so it all feels very potent for rejuvenation of a moment that — we don’t know how long until it’s over,” Alexander says.\u003c/p>\n\u003cp>Fellow organizer Ip hopes the event will help creatives realize their power for mobilizing change. “We do have an amazing toolkit, as artists and producers and creators, where we are able to see on a big-picture scale and think critically about society,” she says.\u003c/p>\n\u003cp>[aside postid='news_11972100']But the organizers are careful to underscore that although they’re drawing from the Bay Area’s rich legacy of performance protest, one doesn’t need to be a professional artist to attend or participate. “There is an artist in everyone,” Alexander says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/counterpulse/\">Artists Against Genocide\u003c/a> is free to attend and begins at 12 p.m. on Jan. 14 at CounterPulse in San Francisco. Panels start at 3 p.m., and performances begin at 5 p.m. and go until 2 a.m. ASL interpretation will be available, and the teach-in will be recorded and shared after the event.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The 14-hour event at CounterPulse on Jan. 14 includes a teach-in, somatic workshop and call to action. ","status":"publish","parent":0,"modified":1705002909,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":498},"headData":{"title":"‘Artists Against Genocide’ Aims to Educate, Heal and Mobilize in SF | KQED","description":"The 14-hour event at CounterPulse on Jan. 14 includes a teach-in, somatic workshop and call to action. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13940282/artists-against-genocide-counterpulse","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Black feminist writer Toni Cade Bambara once declared that the role of the artist is to “make the revolution irresistible.” That mantra has guided the organizers of \u003ca href=\"https://www.instagram.com/p/C0zUMCeR4XE/?img_index=1\">Artists Against Genocide\u003c/a>, a 14-hour event that invites the public to learn, grieve and organize around the human rights crises in \u003ca href=\"https://www.kqed.org/news/tag/gaza\">Gaza\u003c/a>, the \u003ca href=\"https://www.nytimes.com/2023/12/17/world/africa/democratic-republic-of-congo-elections.html\">Democratic Republic of Congo\u003c/a>, \u003ca href=\"https://www.aljazeera.com/features/2024/1/9/sudans-army-is-retaliating-against-activists-amid-the-war-for-their-role-in-bringing-down-their-former-boss-and-president-omar-al-bashir-in-april-2019\">Sudan\u003c/a> and \u003ca href=\"https://www.un.org/en/information-center-washington/haiti%E2%80%99s-harrowing-humanitarian-crisis-remains-top-united-nations%E2%80%99\">Haiti\u003c/a> on Jan. 14 at San Francisco art space \u003ca href=\"https://counterpulse.org/\">CounterPulse\u003c/a>.\u003c/p>\n\u003cp>“We’re making it something that is exciting and also communal,” says Chibueze Crouch, who put together the event with fellow theater, dance and performing artists Styles Alexander, Clarissa Dyas, Kim Ip and Ainsley Tharp.\u003c/p>\n\u003cfigure id=\"attachment_13940290\" class=\"wp-caption alignright\" style=\"max-width: 1074px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940290\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers.png\" alt=\"A Zoom screenshot of five smiling artists and organizers. \" width=\"1074\" height=\"1606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers.png 1074w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-1020x1525.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-768x1148.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-1027x1536.png 1027w\" sizes=\"(max-width: 1074px) 100vw, 1074px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left: Styles Alexander, Ainsley Tharp, Kim Ip, Chibueze Crouch and Clarissa Dyas. \u003ccite>(Courtesy of Chibueze Crouch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The all-day event offers panels and teach-ins, with speakers that include \u003ca href=\"https://www.palestineinamerica.com/blog/A%20Palestinian%20you%20should%20know:%20Sharif%20Zakout\">Sharif Zakout\u003c/a> of \u003ca href=\"https://www.araborganizing.org/\">Arab Resource and Organizing Center\u003c/a> and \u003ca href=\"https://www.kqed.org/news/tag/cat-brooks\">Cat Brooks\u003c/a> of \u003ca href=\"https://www.antipoliceterrorproject.org/\">Anti Police-Terror Project\u003c/a>, with support from local record label \u003ca href=\"https://7000coils.com/\">7000COILS\u003c/a>. Dancer, choreographer and Yoruba priest \u003ca href=\"https://www.kqed.org/news/11953660/the-kitchen-sisters-present-house-full-of-black-women\">Amara Tabor-Smith\u003c/a> will lead a movement workshop aimed at helping attendees process and release emotions. And a protest poster-making station and phone booths for calling legislators will offer space for participants to channel their sorrow, rage and solidarity into action.\u003c/p>\n\u003cp>“We’re also having a potluck,” says Alexander. “That’s so crucial in these moments — just breaking bread together.”\u003c/p>\n\u003cp>Alexander, who is a member of the queer performance collective Rupture, one of the first arts groups in the Bay Area to put out a \u003ca href=\"https://www.instagram.com/p/Cz2sl4NLwh3/?img_index=1\">formal statement of solidarity with Gaza\u003c/a>, began dreaming up Artists Against Genocide in October. They and their co-organizers anticipated that, by January, there could be some fatigue among the public after months of protesting and calling Congress to demand a ceasefire.\u003c/p>\n\u003cp>“It’s the day before Martin Luther King Day, so it all feels very potent for rejuvenation of a moment that — we don’t know how long until it’s over,” Alexander says.\u003c/p>\n\u003cp>Fellow organizer Ip hopes the event will help creatives realize their power for mobilizing change. “We do have an amazing toolkit, as artists and producers and creators, where we are able to see on a big-picture scale and think critically about society,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11972100","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But the organizers are careful to underscore that although they’re drawing from the Bay Area’s rich legacy of performance protest, one doesn’t need to be a professional artist to attend or participate. “There is an artist in everyone,” Alexander says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/counterpulse/\">Artists Against Genocide\u003c/a> is free to attend and begins at 12 p.m. on Jan. 14 at CounterPulse in San Francisco. Panels start at 3 p.m., and performances begin at 5 p.m. and go until 2 a.m. ASL interpretation will be available, and the teach-in will be recorded and shared after the event.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13940282/artists-against-genocide-counterpulse","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_966","arts_1003","arts_967"],"tags":["arts_10278","arts_8838","arts_585"],"featImg":"arts_13940289","label":"arts_140"},"arts_13938001":{"type":"posts","id":"arts_13938001","meta":{"index":"posts_1591205157","site":"arts","id":"13938001","score":null,"sort":[1699992952000]},"guestAuthors":[],"slug":"my-linh-le-turf-dance-mud-water-iv-mission-dance-theater","title":"In an AI-Driven Future, Turf Dancers Share the Meaning of Their Movements","publishDate":1699992952,"format":"standard","headTitle":"In an AI-Driven Future, Turf Dancers Share the Meaning of Their Movements | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In a 2016 music video for Kaytranada’s “\u003ca href=\"https://www.youtube.com/watch?v=KZnou4zthz4\">Lite Spots\u003c/a>” a robot follows its creator around Los Angeles, watching and mimicking dance moves. But there’s one dance style (which looks a lot like the Oakland-born turfing) that the robot is unable to fully capture, resulting in an error message, an inability for the AI to compute. In her new dance theater performance \u003cem>Mud Water IV\u003c/em>, Nov. 18 and 19 at \u003ca href=\"https://dancemissiontheater.org/2023/09/05/nov-17-19-mude-water-iv/\">Dance Mission Theater\u003c/a>, Bay Area artist and choreographer \u003ca href=\"https://www.kqed.org/arts/11514189/women-to-watch-my-linh-le\">My-Linh Le\u003c/a> proposes a futuristic scenario not so dissimilar from that music video: what might it look like to teach an AI about the cultural roots and importance of turfing? \u003c/p>\n\u003cp>[aside postID='arts_13932887']Le, the founder and director of \u003ca href=\"https://www.mudwatertheatre.com/\">Mud Water Theatre\u003c/a>, is best known for bringing turfing to the stage, collaboratively creating productions with groups of dancers — including a combination of \u003ca href=\"https://www.kqed.org/arts/11230644/turf-dancing-and-ballet-struggle-to-meet-half-way\">turfing and ballet\u003c/a>. She pivoted to film at the height of the pandemic, creating \u003ca href=\"https://sffilm.org/event/mud-water/\">\u003cem>Mud Water\u003c/em>\u003c/a>, a half-hour short that premiered at the 2022 San Francisco International Film Festival as a hybrid narrative and dance film. \u003c/p>\n\u003cp>While preparing for this latest iteration of the project, her cast struggled to define turfing, so Le provided ChatGPT’s take on the dance form (\u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\">originally known as fuckin’ with it\u003c/a>). In addition to a description of fluid, graceful, abrupt and robotic movements, the chatbot offered that turfing “means to engage with or manipulate something in a casual or experimental manner, often with a sense of nonchalance or indifference. It can also imply a willingness to take risks or be daring.” The dancers agreed.\u003c/p>\n\u003cfigure id=\"attachment_13937645\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED.jpg\" alt=\"A person with glasses smiles in a large indoor room.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13937645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">My-Linh Le smiles as she watches her dancers rehearse at the Bayview Opera House. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From ‘going hyphy to going viral’\u003c/h2>\n\u003cp>Le thinks of \u003cem>Mud Water IV\u003c/em> as an exercise in autoethnography, a method of reflecting on the dancers’ observations of their own culture or subculture. Since the \u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\">emergence of turfing\u003c/a> in the early 2000s, shifts in musical styles have inevitably changed the way people dance to that music. Le is especially interested in the role virality plays within the attention economy; she’s trying to understand the trajectory of Bay Area dance culture from “going hyphy to going viral.” Fittingly, part of the premise of \u003cem>Mud Water IV\u003c/em>, set in the year 2032, is the existence of an AI called DanceGPT that has gorged itself on social media dance trends.\u003c/p>\n\u003cp>[aside postID='arts_13856335']“You basically have to change the integrity of the thing you love or the stance that you want to represent, if you want it to spread,” Le says of dance in today’s social media landscape. “But in the end, what are you spreading? Many of the turfers in our cast have been discussing the changes and shifts they’re seeing.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cast is made up of some of the most extraordinary dancers in the Bay Area turfing community, including Alante “\u003ca href=\"https://www.instagram.com/ogtaehaze/\">Tae-Ninja\u003c/a>” Hall, Arthur “\u003ca href=\"https://www.instagram.com/_dopeyfresh_/\">Dopeyfresh\u003c/a>” Gardner, Gary “\u003ca href=\"https://www.instagram.com/icecold3000/\">Icecold3000\u003c/a>” Morgan, Jarell “\u003ca href=\"https://www.instagram.com/lf_skeeter/\">Skeeter\u003c/a>” Boyd, \u003ca href=\"https://www.instagram.com/2112charlie/\">Charlie\u003c/a>, Michael “\u003ca href=\"https://www.instagram.com/nonamevision/\">Noname\u003c/a>” Chicago II, \u003ca href=\"https://www.instagram.com/shakathecreator/\">Shaka Perdue\u003c/a> and \u003ca href=\"https://www.instagram.com/tuuhleacee/\">Telice Summerfield\u003c/a>. Le asked her cast questions about their experiences in the turfing community, becoming an intermediary for their reflections as they prepared for the show over the past year. She considered how their perceptions, their participation in the movement, might possibly feed into DanceGPT — and how algorithms, in turn, could change or transform the culture. \u003c/p>\n\u003cfigure id=\"attachment_13938015\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000.jpg\" alt=\"A woman holds left hand pointing down in dance movement, mouth open and tongue out\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alante ‘Tae-Ninja’ Hall during rehearsals for ‘Mud Water IV.’ \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Dance Mission Theater, the final production includes turfing, storytelling and motion graphics projected behind the dancers on stage. The entire structure of the show is documentary-esque, a purposeful response to the rapid speed of data and image-consumption by both social media and machine-learning platforms. Audiences watch as the dancers attempt to provide — ultimately — a definition of turfing. \u003c/p>\n\u003cp>As I sat through a rehearsal, every movement changed slightly with every repetition, which was refreshing and slightly unnerving — a particular glide or articulation was specific to each moment. Similarly, the sheer beauty of turfing comes from the inability to contain it. Could an AI capture and document, with precision, the history and cultural impact of turfing? The short answer is: never.\u003c/p>\n\u003ch2>‘It takes the whole community’\u003c/h2>\n\u003cp>If technology cannot hold a dance movement, maybe a dancer’s body can serve as a type of archive? The body remembers — but it also forgets. It inevitably evolves and ages, which might not make it the most reliable entity for storing memories and movements. As dancers and dance forms evolve, movements become second nature or are omitted, especially if a gesture doesn’t feel like it has a soul to it. \u003c/p>\n\u003cfigure id=\"attachment_13938016\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000.jpg\" alt=\"Person in glasses is in focus watching two dancers in foreground, out of focus\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Telice Summerfield (left) and Alante ‘Tae-Ninja’ Hall (right) rehearse for as My-Linh Le (center) watches. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Le came up in \u003ca href=\"https://www.kqed.org/arts/13833179/playboyz-inc-dancers-keep-strutting-and-popping-alive-in-san-jose\">the popping scene of San José\u003c/a>, but it was a creative environment, she says, of a specific time, place and people. “You can put on the clothing and the attire. You can play the music of the ’80s or ’90s, but essentially you can’t recreate it,” she says. “You can’t reenact it because it takes the whole community for a culture to exist. When we talk about the archive being the body, yes, it is the body. But it is also the bodies — the many, within the community.” \u003c/p>\n\u003cp>[aside postID='arts_13833179']Turfing is full of intricate finger, hand and arm gesticulations. Its dancers seem to float across concrete, creating a genre of movement in a class of its own. The culture makes space for celebration alongside \u003ca href=\"https://www.kqed.org/arts/13935408/hyphy-kids-got-trauma-pt-2-we-dance-different\">expressions of mourning, trauma and loss\u003c/a>, all while dancers battle to take up room on the floor. What started at house parties and in the streets now also exists in competitions and theatrical performances, and yet it is a movement that resists label or definition. \u003cem>Mud Water IV\u003c/em> attempts to grasp its meaning: the dance form’s irresistibility lies in its insistence to play as much as to rouse. \u003c/p>\n\u003cp>What appeals to Le, and what the upcoming performance captures, is turfing’s profoundly rooted, endlessly iterative style. “You’re going to get every texture,” she says. “You’re going to get smooth, fluid, liquid. You’re going to get the frenetic. You’re going to get the deeply thoughtful movement as well as happy. You enter and go in any direction. \u003c/p>\n\u003cp>“There are no rules when it comes to turfing or fuck with it,” Le adds. “It comes down to whether or not you share the same values, same kind of history, and similar experiences that you end up speaking in the same language.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Mud Water IV’ takes place Nov. 18 and 19 at Dance Mission Theater (3316 24th St.). \u003ca href=\"https://www.eventbrite.com/e/mud-water-iv-tickets-715650468817\">Click here for tickets and more information\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"My-Linh Le’s new dance theater performance ‘Mud Water IV’ imagines turfing in 2032.\r\n","status":"publish","parent":0,"modified":1705003099,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1195},"headData":{"title":"‘Mud Water IV’ Imagines Turfing in an AI-Driven Future | KQED","description":"My-Linh Le’s new dance theater performance ‘Mud Water IV’ imagines turfing in 2032.\r\n","ogTitle":"In an AI-Driven Future, Turf Dancers Share the Meaning of Their Movements","ogDescription":"","ogImgId":"","twTitle":"In an AI-Driven Future, Turf Dancers Share the Meaning of Their Movements","twDescription":"","twImgId":"","socialTitle":"‘Mud Water IV’ Imagines Turfing in an AI-Driven Future %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Dorothy R. Santos","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13938001/my-linh-le-turf-dance-mud-water-iv-mission-dance-theater","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a 2016 music video for Kaytranada’s “\u003ca href=\"https://www.youtube.com/watch?v=KZnou4zthz4\">Lite Spots\u003c/a>” a robot follows its creator around Los Angeles, watching and mimicking dance moves. But there’s one dance style (which looks a lot like the Oakland-born turfing) that the robot is unable to fully capture, resulting in an error message, an inability for the AI to compute. In her new dance theater performance \u003cem>Mud Water IV\u003c/em>, Nov. 18 and 19 at \u003ca href=\"https://dancemissiontheater.org/2023/09/05/nov-17-19-mude-water-iv/\">Dance Mission Theater\u003c/a>, Bay Area artist and choreographer \u003ca href=\"https://www.kqed.org/arts/11514189/women-to-watch-my-linh-le\">My-Linh Le\u003c/a> proposes a futuristic scenario not so dissimilar from that music video: what might it look like to teach an AI about the cultural roots and importance of turfing? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932887","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Le, the founder and director of \u003ca href=\"https://www.mudwatertheatre.com/\">Mud Water Theatre\u003c/a>, is best known for bringing turfing to the stage, collaboratively creating productions with groups of dancers — including a combination of \u003ca href=\"https://www.kqed.org/arts/11230644/turf-dancing-and-ballet-struggle-to-meet-half-way\">turfing and ballet\u003c/a>. She pivoted to film at the height of the pandemic, creating \u003ca href=\"https://sffilm.org/event/mud-water/\">\u003cem>Mud Water\u003c/em>\u003c/a>, a half-hour short that premiered at the 2022 San Francisco International Film Festival as a hybrid narrative and dance film. \u003c/p>\n\u003cp>While preparing for this latest iteration of the project, her cast struggled to define turfing, so Le provided ChatGPT’s take on the dance form (\u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\">originally known as fuckin’ with it\u003c/a>). In addition to a description of fluid, graceful, abrupt and robotic movements, the chatbot offered that turfing “means to engage with or manipulate something in a casual or experimental manner, often with a sense of nonchalance or indifference. It can also imply a willingness to take risks or be daring.” The dancers agreed.\u003c/p>\n\u003cfigure id=\"attachment_13937645\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED.jpg\" alt=\"A person with glasses smiles in a large indoor room.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13937645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">My-Linh Le smiles as she watches her dancers rehearse at the Bayview Opera House. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From ‘going hyphy to going viral’\u003c/h2>\n\u003cp>Le thinks of \u003cem>Mud Water IV\u003c/em> as an exercise in autoethnography, a method of reflecting on the dancers’ observations of their own culture or subculture. Since the \u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\">emergence of turfing\u003c/a> in the early 2000s, shifts in musical styles have inevitably changed the way people dance to that music. Le is especially interested in the role virality plays within the attention economy; she’s trying to understand the trajectory of Bay Area dance culture from “going hyphy to going viral.” Fittingly, part of the premise of \u003cem>Mud Water IV\u003c/em>, set in the year 2032, is the existence of an AI called DanceGPT that has gorged itself on social media dance trends.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13856335","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“You basically have to change the integrity of the thing you love or the stance that you want to represent, if you want it to spread,” Le says of dance in today’s social media landscape. “But in the end, what are you spreading? Many of the turfers in our cast have been discussing the changes and shifts they’re seeing.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cast is made up of some of the most extraordinary dancers in the Bay Area turfing community, including Alante “\u003ca href=\"https://www.instagram.com/ogtaehaze/\">Tae-Ninja\u003c/a>” Hall, Arthur “\u003ca href=\"https://www.instagram.com/_dopeyfresh_/\">Dopeyfresh\u003c/a>” Gardner, Gary “\u003ca href=\"https://www.instagram.com/icecold3000/\">Icecold3000\u003c/a>” Morgan, Jarell “\u003ca href=\"https://www.instagram.com/lf_skeeter/\">Skeeter\u003c/a>” Boyd, \u003ca href=\"https://www.instagram.com/2112charlie/\">Charlie\u003c/a>, Michael “\u003ca href=\"https://www.instagram.com/nonamevision/\">Noname\u003c/a>” Chicago II, \u003ca href=\"https://www.instagram.com/shakathecreator/\">Shaka Perdue\u003c/a> and \u003ca href=\"https://www.instagram.com/tuuhleacee/\">Telice Summerfield\u003c/a>. Le asked her cast questions about their experiences in the turfing community, becoming an intermediary for their reflections as they prepared for the show over the past year. She considered how their perceptions, their participation in the movement, might possibly feed into DanceGPT — and how algorithms, in turn, could change or transform the culture. \u003c/p>\n\u003cfigure id=\"attachment_13938015\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000.jpg\" alt=\"A woman holds left hand pointing down in dance movement, mouth open and tongue out\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alante ‘Tae-Ninja’ Hall during rehearsals for ‘Mud Water IV.’ \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Dance Mission Theater, the final production includes turfing, storytelling and motion graphics projected behind the dancers on stage. The entire structure of the show is documentary-esque, a purposeful response to the rapid speed of data and image-consumption by both social media and machine-learning platforms. Audiences watch as the dancers attempt to provide — ultimately — a definition of turfing. \u003c/p>\n\u003cp>As I sat through a rehearsal, every movement changed slightly with every repetition, which was refreshing and slightly unnerving — a particular glide or articulation was specific to each moment. Similarly, the sheer beauty of turfing comes from the inability to contain it. Could an AI capture and document, with precision, the history and cultural impact of turfing? The short answer is: never.\u003c/p>\n\u003ch2>‘It takes the whole community’\u003c/h2>\n\u003cp>If technology cannot hold a dance movement, maybe a dancer’s body can serve as a type of archive? The body remembers — but it also forgets. It inevitably evolves and ages, which might not make it the most reliable entity for storing memories and movements. As dancers and dance forms evolve, movements become second nature or are omitted, especially if a gesture doesn’t feel like it has a soul to it. \u003c/p>\n\u003cfigure id=\"attachment_13938016\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000.jpg\" alt=\"Person in glasses is in focus watching two dancers in foreground, out of focus\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Telice Summerfield (left) and Alante ‘Tae-Ninja’ Hall (right) rehearse for as My-Linh Le (center) watches. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Le came up in \u003ca href=\"https://www.kqed.org/arts/13833179/playboyz-inc-dancers-keep-strutting-and-popping-alive-in-san-jose\">the popping scene of San José\u003c/a>, but it was a creative environment, she says, of a specific time, place and people. “You can put on the clothing and the attire. You can play the music of the ’80s or ’90s, but essentially you can’t recreate it,” she says. “You can’t reenact it because it takes the whole community for a culture to exist. When we talk about the archive being the body, yes, it is the body. But it is also the bodies — the many, within the community.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13833179","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Turfing is full of intricate finger, hand and arm gesticulations. Its dancers seem to float across concrete, creating a genre of movement in a class of its own. The culture makes space for celebration alongside \u003ca href=\"https://www.kqed.org/arts/13935408/hyphy-kids-got-trauma-pt-2-we-dance-different\">expressions of mourning, trauma and loss\u003c/a>, all while dancers battle to take up room on the floor. What started at house parties and in the streets now also exists in competitions and theatrical performances, and yet it is a movement that resists label or definition. \u003cem>Mud Water IV\u003c/em> attempts to grasp its meaning: the dance form’s irresistibility lies in its insistence to play as much as to rouse. \u003c/p>\n\u003cp>What appeals to Le, and what the upcoming performance captures, is turfing’s profoundly rooted, endlessly iterative style. “You’re going to get every texture,” she says. “You’re going to get smooth, fluid, liquid. You’re going to get the frenetic. You’re going to get the deeply thoughtful movement as well as happy. You enter and go in any direction. \u003c/p>\n\u003cp>“There are no rules when it comes to turfing or fuck with it,” Le adds. “It comes down to whether or not you share the same values, same kind of history, and similar experiences that you end up speaking in the same language.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Mud Water IV’ takes place Nov. 18 and 19 at Dance Mission Theater (3316 24th St.). \u003ca href=\"https://www.eventbrite.com/e/mud-water-iv-tickets-715650468817\">Click here for tickets and more information\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13938001/my-linh-le-turf-dance-mud-water-iv-mission-dance-theater","authors":["byline_arts_13938001"],"programs":["arts_140"],"categories":["arts_1","arts_966","arts_1003"],"tags":["arts_879","arts_10278","arts_1146","arts_21737"],"featImg":"arts_13938014","label":"arts_140"},"arts_13935933":{"type":"posts","id":"arts_13935933","meta":{"index":"posts_1591205157","site":"arts","id":"13935933","score":null,"sort":[1696629163000]},"guestAuthors":[],"slug":"counterpulse-vivvyanne-forevermore-drag-the-show","title":"At CounterPulse Festival, VivvyAnne ForeverMORE!’s Drag Extravaganza Sparkles","publishDate":1696629163,"format":"aside","headTitle":"At CounterPulse Festival, VivvyAnne ForeverMORE!’s Drag Extravaganza Sparkles | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13936003\" class=\"wp-caption aligncenter\" style=\"max-width: 1667px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Cornelius.SQ_.jpg\" alt=\"\" width=\"1667\" height=\"1667\" class=\"size-full wp-image-13936003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_.jpg 1667w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1667px) 100vw, 1667px\">\u003cfigcaption class=\"wp-caption-text\">VivvyAnne ForeverMORE!, whose drag extravaganza ‘The Show’ is part of this year’s CounterPulse Festival. \u003ccite>(Marcel Pardo Ariza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a young drag queen, \u003ca href=\"https://www.vivvys.com/\">VivvyAnne ForeverMORE!\u003c/a> spent many a night backstage, listening to her drag elders gossip and cackle under the glow of dressing room lights. Now, as a drag mother herself, she’s passed down wisdom to younger artists while gluing eyelashes and rhinestones.\u003c/p>\n\u003cp>This form of queer oral history — rarely documented or seen by the general public — is part of her upcoming drag extravaganza simply titled \u003ca href=\"https://www.theshow.rocks/\">\u003ci>The Show\u003c/i>\u003c/a>. The multi-venue event takes place on Oct. 14 as part of San Francisco’s CounterPulse Festival, and features an array of performances that invite audiences to partake in the otherwise private, behind-the-scenes rituals that make drag not just a form of entertainment, but a way to foster community and chosen family.\u003c/p>\n\u003cp>ForeverMORE! says that she and co-producer Julie Phelps, executive director of CounterPulse!, had the word “epic” in mind while designing the programming, which takes place in and around the Tenderloin, much of it free and outdoors. “I want these incidental moments of drag art on the street to be these moments of potential beauty for people,” says ForeverMORE!\u003c/p>\n\u003cp>Festivities kick off from 1–5 p.m. with “The Peepshow,” where 16 drag artists — including leading disability justice advocate Glamputee and Lisa Frankenstein, co-host of Oasis’ popular drag party Princess — take turns lip syncing behind the glass of CounterPulse’s lobby.\u003c/p>\n\u003cfigure id=\"attachment_13935934\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055.jpg\" alt=\"A drag artist on crutches swings their ponytail. \" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Glamputee performs at KQED for a Clutch the Pearls showcase on June 8, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The audience is literally on Turk Street, which is a very active area,” ForeverMORE! says, noting the neighborhood’s poignant history: CounterPulse is just blocks from the former site of Compton’s Cafeteria, an all-night diner where trans women and drag queens rioted against police brutality in 1966.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For ForeverMORE!, the history of how LGBTQ+ identity was criminalized adds weight to \u003ci>The Show\u003c/i>’s glamorous and theatrical displays. “We didn’t just exist at nighttime, but we weren’t allowed to gather in public,” she says.\u003c/p>\n\u003cp>Celebrating gender-nonconformity in daylight is a core theme that runs through \u003ci>The Show\u003c/i> — and an important one as \u003ca href=\"https://www.kqed.org/arts/13927432/drag-up-fight-back-protest-san-francisco-trans-lgbtq\">anti-trans laws\u003c/a> continue to sweep the nation.\u003c/p>\n\u003cfigure id=\"attachment_13899332\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/NickiJizz_COVER.jpg\" alt=\"\" width=\"1440\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-768x432.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Drag queen Nicki Jizz hosts Reparations, a night of all-Black performers at Oasis. \u003ccite>(Courtesy of Nicki Jizz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From 2–5 p.m. at The Strand Theater (a short walk from CounterPulse), eight drag artists will partake in one-on-one conversations on stage. Meant to replicate those aforementioned backstage kikis, “The Talks” pair \u003ca href=\"https://www.kqed.org/arts/tag/nicki-jizz\">Nicki Jizz\u003c/a>, creator of San Francisco’s only all-Black drag show \u003ci>Reparations\u003c/i>, for a conversation with KING LOTUS BOY, the 2023 San Francisco Drag King Contest winner and another formidable disability justice activist. Glamamore — VivvyAnne ForeverMORE!’s drag mother and \u003ca href=\"https://www.kqed.org/arts/13919897/san-francisco-arts-commission-juanita-more-30-years\">couture designer to the drag stars\u003c/a> — will be in conversation with drag artist, choreographer and author Fauxnique.\u003c/p>\n\u003cp>“I love backstage, not because it’s VIP, but because it’s funny and hilarious and full of jokes, you know?” ForeverMORE! says.\u003c/p>\n\u003cfigure id=\"attachment_13935941\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935941\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Churro Nomi performs at KQED for a Clutch the Pearls showcase on June 8, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just a high-heeled hop and skip away from The Strand at Civic Center UN Plaza, “The Photoshoot” will feature street performances from VERA, Newonce, HELIXIR, Bindi Masala, Venus Superstar Bizarre, Mary Vice and Yves Saint Croissant. DJ aunteejoan will spin while Butter Rugged and Marcel Pardo Ariza snap pictures.\u003c/p>\n\u003cp>“Then we have drag artists walking to Civic Center from where they parked or from BART or whatever,” says ForeverMORE! of the atmosphere she hopes to cultivate. “Like maybe you’re visiting San Francisco and you just happened to be walking down Market and you pass by Newonce and you’re like, ‘Why is there a drag queen at 4 p.m.?’” [aside postid='arts_13934286']\u003c/p>\n\u003cp>All of the events are free except for “The Finale” and a VIP reception with food and drinks at the Line Hotel, where ForeverMORE! will announce a new arts initiative with her collaborators at the Stud Collective, the group of workers who plan to reopen their historic LGBTQ+ venue in a new location in 2024. And finally, \u003cem>The Show\u003c/em> will wrap with a performance at CounterPulse that includes live vocals and aerial dance, starring Dulce De Leche, Militia Scunt, Gina LaDivina, Pseuda, Churro Nomi and Major Hammy.\u003c/p>\n\u003cp>ForeverMORE! says she dreamt up \u003ci>The Show\u003c/i> to celebrate the dedicated drag artists who — through ingenuity, sacrifice and resourcefulness — created an intergenerational community that helps each other find the courage to flourish. “One of the coolest parts, particularly about Bay Area drag, is you can start here,” she says. “You can start off here and be encouraged pretty quickly. People will embrace you and pull you in and offer support.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13835025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/Compact_Logo_Break.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Show’ takes place at CounterPulse and other San Francisco locations Oct. 14 1–8:30 p.m. “The Peepshow” will stream on \u003ca href=\"https://www.twitch.tv/counterpulsesf\">CounterPulse’s Twitch channel\u003c/a>, and “The Peepshow,” “The Talks” and “The Finale” offer ASL interpretation. \u003ca href=\"https://www.theshow.rocks/\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"‘The Show’ takes place Oct. 14, 1–8:30 p.m. as part of San Francisco’s CounterPulse Festival.","status":"publish","parent":0,"modified":1705003266,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":913},"headData":{"title":"At CounterPulse Festival, VivvyAnne ForeverMORE!’s Drag Extravaganza Sparkles | KQED","description":"‘The Show’ takes place Oct. 14, 1–8:30 p.m. as part of San Francisco’s CounterPulse Festival.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13935933/counterpulse-vivvyanne-forevermore-drag-the-show","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13936003\" class=\"wp-caption aligncenter\" style=\"max-width: 1667px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Cornelius.SQ_.jpg\" alt=\"\" width=\"1667\" height=\"1667\" class=\"size-full wp-image-13936003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_.jpg 1667w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1667px) 100vw, 1667px\">\u003cfigcaption class=\"wp-caption-text\">VivvyAnne ForeverMORE!, whose drag extravaganza ‘The Show’ is part of this year’s CounterPulse Festival. \u003ccite>(Marcel Pardo Ariza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a young drag queen, \u003ca href=\"https://www.vivvys.com/\">VivvyAnne ForeverMORE!\u003c/a> spent many a night backstage, listening to her drag elders gossip and cackle under the glow of dressing room lights. Now, as a drag mother herself, she’s passed down wisdom to younger artists while gluing eyelashes and rhinestones.\u003c/p>\n\u003cp>This form of queer oral history — rarely documented or seen by the general public — is part of her upcoming drag extravaganza simply titled \u003ca href=\"https://www.theshow.rocks/\">\u003ci>The Show\u003c/i>\u003c/a>. The multi-venue event takes place on Oct. 14 as part of San Francisco’s CounterPulse Festival, and features an array of performances that invite audiences to partake in the otherwise private, behind-the-scenes rituals that make drag not just a form of entertainment, but a way to foster community and chosen family.\u003c/p>\n\u003cp>ForeverMORE! says that she and co-producer Julie Phelps, executive director of CounterPulse!, had the word “epic” in mind while designing the programming, which takes place in and around the Tenderloin, much of it free and outdoors. “I want these incidental moments of drag art on the street to be these moments of potential beauty for people,” says ForeverMORE!\u003c/p>\n\u003cp>Festivities kick off from 1–5 p.m. with “The Peepshow,” where 16 drag artists — including leading disability justice advocate Glamputee and Lisa Frankenstein, co-host of Oasis’ popular drag party Princess — take turns lip syncing behind the glass of CounterPulse’s lobby.\u003c/p>\n\u003cfigure id=\"attachment_13935934\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055.jpg\" alt=\"A drag artist on crutches swings their ponytail. \" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Glamputee performs at KQED for a Clutch the Pearls showcase on June 8, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The audience is literally on Turk Street, which is a very active area,” ForeverMORE! says, noting the neighborhood’s poignant history: CounterPulse is just blocks from the former site of Compton’s Cafeteria, an all-night diner where trans women and drag queens rioted against police brutality in 1966.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For ForeverMORE!, the history of how LGBTQ+ identity was criminalized adds weight to \u003ci>The Show\u003c/i>’s glamorous and theatrical displays. “We didn’t just exist at nighttime, but we weren’t allowed to gather in public,” she says.\u003c/p>\n\u003cp>Celebrating gender-nonconformity in daylight is a core theme that runs through \u003ci>The Show\u003c/i> — and an important one as \u003ca href=\"https://www.kqed.org/arts/13927432/drag-up-fight-back-protest-san-francisco-trans-lgbtq\">anti-trans laws\u003c/a> continue to sweep the nation.\u003c/p>\n\u003cfigure id=\"attachment_13899332\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/NickiJizz_COVER.jpg\" alt=\"\" width=\"1440\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-768x432.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Drag queen Nicki Jizz hosts Reparations, a night of all-Black performers at Oasis. \u003ccite>(Courtesy of Nicki Jizz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From 2–5 p.m. at The Strand Theater (a short walk from CounterPulse), eight drag artists will partake in one-on-one conversations on stage. Meant to replicate those aforementioned backstage kikis, “The Talks” pair \u003ca href=\"https://www.kqed.org/arts/tag/nicki-jizz\">Nicki Jizz\u003c/a>, creator of San Francisco’s only all-Black drag show \u003ci>Reparations\u003c/i>, for a conversation with KING LOTUS BOY, the 2023 San Francisco Drag King Contest winner and another formidable disability justice activist. Glamamore — VivvyAnne ForeverMORE!’s drag mother and \u003ca href=\"https://www.kqed.org/arts/13919897/san-francisco-arts-commission-juanita-more-30-years\">couture designer to the drag stars\u003c/a> — will be in conversation with drag artist, choreographer and author Fauxnique.\u003c/p>\n\u003cp>“I love backstage, not because it’s VIP, but because it’s funny and hilarious and full of jokes, you know?” ForeverMORE! says.\u003c/p>\n\u003cfigure id=\"attachment_13935941\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935941\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Churro Nomi performs at KQED for a Clutch the Pearls showcase on June 8, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just a high-heeled hop and skip away from The Strand at Civic Center UN Plaza, “The Photoshoot” will feature street performances from VERA, Newonce, HELIXIR, Bindi Masala, Venus Superstar Bizarre, Mary Vice and Yves Saint Croissant. DJ aunteejoan will spin while Butter Rugged and Marcel Pardo Ariza snap pictures.\u003c/p>\n\u003cp>“Then we have drag artists walking to Civic Center from where they parked or from BART or whatever,” says ForeverMORE! of the atmosphere she hopes to cultivate. “Like maybe you’re visiting San Francisco and you just happened to be walking down Market and you pass by Newonce and you’re like, ‘Why is there a drag queen at 4 p.m.?’” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13934286","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of the events are free except for “The Finale” and a VIP reception with food and drinks at the Line Hotel, where ForeverMORE! will announce a new arts initiative with her collaborators at the Stud Collective, the group of workers who plan to reopen their historic LGBTQ+ venue in a new location in 2024. And finally, \u003cem>The Show\u003c/em> will wrap with a performance at CounterPulse that includes live vocals and aerial dance, starring Dulce De Leche, Militia Scunt, Gina LaDivina, Pseuda, Churro Nomi and Major Hammy.\u003c/p>\n\u003cp>ForeverMORE! says she dreamt up \u003ci>The Show\u003c/i> to celebrate the dedicated drag artists who — through ingenuity, sacrifice and resourcefulness — created an intergenerational community that helps each other find the courage to flourish. “One of the coolest parts, particularly about Bay Area drag, is you can start here,” she says. “You can start off here and be encouraged pretty quickly. People will embrace you and pull you in and offer support.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13835025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/Compact_Logo_Break.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Show’ takes place at CounterPulse and other San Francisco locations Oct. 14 1–8:30 p.m. “The Peepshow” will stream on \u003ca href=\"https://www.twitch.tv/counterpulsesf\">CounterPulse’s Twitch channel\u003c/a>, and “The Peepshow,” “The Talks” and “The Finale” offer ASL interpretation. \u003ca href=\"https://www.theshow.rocks/\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13935933/counterpulse-vivvyanne-forevermore-drag-the-show","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_1003"],"tags":["arts_1018","arts_1556","arts_1146","arts_1020","arts_585"],"featImg":"arts_13936004","label":"arts_140"},"arts_13930587":{"type":"posts","id":"arts_13930587","meta":{"index":"posts_1591205157","site":"arts","id":"13930587","score":null,"sort":[1686869020000]},"guestAuthors":[],"slug":"drag-dance-and-liberation-5-parties-for-your-2023-sf-pride-weekend","title":"Drag, Dance and Liberation: 5 Parties for Your 2023 SF Pride Weekend","publishDate":1686869020,"format":"standard","headTitle":"Drag, Dance and Liberation: 5 Parties for Your 2023 SF Pride Weekend | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>For the last month, my group chats have been surging with excitement. Friends tease about who they’ll kiss at the next function, goading me on to be bold too. Just a few years ago, I’d never have imagined that this could be my reality — that I could feel comfortable enough in my identity to celebrate amongst fellow queer people. Now, these are the relationships that nourish me most — and bring me closer to understanding what it means to be part of the LGBTQ+ community.\u003c/p>\n\u003cp>At these Pride parties, expect to be swept up in intimate community spaces, where music reverberates and queer euphoria flourishes beneath dim light.\u003c/p>\n\u003cfigure id=\"attachment_13930597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/LadyRyan.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/LadyRyan-800x531.png\" alt='a Black woman with a shirt that reads \"end police terrorism\" smiles at the camera' width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/LadyRyan-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/LadyRyan-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/LadyRyan-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/LadyRyan-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/LadyRyan-1536x1019.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/LadyRyan-1920x1273.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/LadyRyan.png 1966w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">LadyRyan, a local DJ and creator of Soulovely — an Oakland day party for QTBIPOC communities — is an organizer and performer for the SF Queer Pride Party. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://wl.seetickets.us/event/SF-QueerPride/548749?afflky=1015Folsom\">SF Queer Pride Party\u003c/a>\u003c/h3>\n\u003cp>\u003cem>June 23, 10 p.m.\u003cbr>\n1015 Folsom, San Francisco, $60–$100\u003c/em>\u003c/p>\n\u003cp>A fixture in the Bay Area queer party scene returns with an electrifying lineup of DJs, rappers and performers. Organized by \u003ca href=\"https://www.instagram.com/swaggerlikeussf\">Swagger Like Us\u003c/a> — a Bay Area party platform focused on emerging queer talent — and local \u003ca href=\"https://www.instagram.com/djladyryan/?hl=en\">DJ LadyRyan\u003c/a>, this is a go-to annual event with an eclectic selection of musicians.\u003c/p>\n\u003cp>Notable performers this year include New York City rapper \u003ca href=\"https://www.instagram.com/daiburger\">Dai Burger\u003c/a>, whose diverse discography features both dreamy, feel-good club music and slower-tempo raps dripping with self-confidence. Berlin-based multidisciplinary rapper \u003ca href=\"https://www.instagram.com/zebrakatz\">Zebra Katz\u003c/a> will also join, bringing in seductive, high-tempo and experimental tracks that provide the atmosphere of a dark European techno rave. And for those seeking fast-paced ballroom beats, New Orleans-born \u003ca href=\"https://www.instagram.com/leonce\">DJ Leonce\u003c/a> will be mixing together funky electronic songs reminiscent of Atlanta’s ballrooms. Other artists include \u003ca href=\"https://www.instagram.com/aimathedrmr\">Aïma the Dreamer\u003c/a>, \u003ca href=\"https://www.instagram.com/sirjoq\">Sir JoQ\u003c/a> and \u003ca href=\"https://www.instagram.com/byrellthegreat\">Byrell the Great\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_lSGd7z4JgU\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003ch3>\u003ca href=\"https://www.eventbrite.com/e/club-ablunt-ft-suzi-analogue-just-us-bright-beautiful-gay-as-fuck-tickets-639113434487\" target=\"_blank\" rel=\"noopener\">JUST US: Bright & Beautiful, Gay as Fuck\u003c/a>\u003c/h3>\n\u003cp>\u003cem>June 23, 10 p.m. \u003c/em>\u003cbr>\n\u003cem>CounterPulse, San Francisco, $20–$30\u003c/em>\u003c/p>\n\u003cp>For experimental music lovers, \u003ca href=\"https://www.instagram.com/clubablunt510\">CLUB A.B.L.U.N.T.\u003c/a> (Asian, Black, Latinx, Uniting with Native Tribes) is hosting an event that offers a more alternative dance party. With an all QTBIPOC lineup, JUST US will be headlined by Miami-based producer and music professor \u003ca href=\"https://www.instagram.com/\">Suzi Analogue\u003c/a>, whose sets layer lofi beats, ambient noise and irregular percussion to create a distinct, undefinable sound. Other performers include local \u003ca href=\"https://www.instagram.com/tecuani.feroz\">DJ De Alma\u003c/a>, whose hardcore sets are especially enticing to energetic Bay Area ravers. The event features two rooms and will be held at \u003ca href=\"https://counterpulse.org/\">CounterPulse\u003c/a>, a San Francisco venue dedicated to uplifting experimental dance, music and art.\u003c/p>\n\u003cfigure id=\"attachment_11907616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2016/08/big-freedia2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11907616\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/08/big-freedia2-800x533.jpg\" alt=\"Big Freedia at GastroMagic. (Wendy Goodfriend)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/big-freedia2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/big-freedia2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/big-freedia2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/big-freedia2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/big-freedia2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/big-freedia2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Big Freedia will headline one of five stages at the Pink Block, hosted by Polyglamorous SF. (Wendy Goodfriend) \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.eventbrite.com/e/pink-block-big-freedia-horse-meat-disco-doc-martin-kim-ann-foxman-tickets-539583908997\" target=\"_blank\" rel=\"noopener\">Pink Block — Polyglamorous Pride 2023\u003c/a>\u003c/h3>\n\u003cp>\u003cem>June 24, 12 p.m.–3 a.m.\u003cbr>\nThe Great Northern, San Francisco, $45–$130\u003c/em>\u003c/p>\n\u003cp>More like a mini-festival than a single party, the vibrant Pink Block will host performers on five different stages from day to night. Hosted by \u003ca href=\"https://www.instagram.com/polyglamoroussf\">Polyglamorous SF\u003c/a>, the gathering will be headlined by more than 40 musical artists, including New Orleans rapper and cultural icon \u003ca href=\"https://www.instagram.com/bigfreedia\">Big Freedia\u003c/a>, queer party favorite \u003ca href=\"https://www.instagram.com/horse_meat_disco\">Horse Meat Disco\u003c/a>, wavy techno DJ \u003ca href=\"https://www.instagram.com/kimannfoxma\">Kim Ann Foxman\u003c/a>, Russian punk rock group \u003ca href=\"https://www.instagram.com/pussyriot\">Pussy Riot\u003c/a>, former RuPaul’s Drag Race contestant and rapper \u003ca href=\"https://www.instagram.com/ajathekween\">Aja LaBeija\u003c/a> and more. There’s something here for music lovers across all different tastes, including more mellow, head-bumping EDM, funky fresh Italo disco remixes and electrifying bounce hip-hop performances.\u003c/p>\n\u003cfigure id=\"attachment_13914979\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914979\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-800x581.jpg\" alt=\"Crowd with drag queen and furry in dog costume at center\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-1536x1116.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita MORE!’s Pride party in 2021. The celebrated drag performer and activist will host a daylong Pride march and party June 25. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://juanitamore.com/about-jm-pride-2022\">Juanita MORE! Pride\u003c/a>\u003c/h3>\n\u003cp>\u003cem>June 25, 11 a.m.–7 p.m.\u003c/em>\u003cbr>\n\u003cem>Day Party: 620 Jones, San Francisco\u003cbr>\nNight Party: Halcyon, San Francisco, $35 (cash only)\u003c/em>\u003c/p>\n\u003cp>At the intersection of Polk and Washington Streets, crowds will gather early in the morning to join celebrated drag queen and activist \u003ca href=\"https://www.instagram.com/missmore8\">Juanita MORE!\u003c/a> for a march. Black and brown queer and trans community leaders will take the lead, rallying passionate attendees for LGBTQIA+ rights as they walk together in solidarity.\u003c/p>\n\u003cp>Afterwards, all are invited to attend a day party at cocktail bar \u003ca href=\"https://620-jones.com/\">620 Jones\u003c/a> and an evening dance party at nightclub \u003ca href=\"https://halcyon-sf.com/main/\">Halcyon\u003c/a>. The multifaceted, marathon event brings together eager people every year, intertwining social justice with high-energy dance and celebration.\u003c/p>\n\u003cfigure id=\"attachment_13915257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915257\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"drag queens dressed in colorful costumes on a float in downtown San Francisco\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz (left), drag queen and host of San Francisco Black drag show Reparations, will be hosting ENVY with fellow drag performer Vivvy on June 25. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.eventbrite.com/e/envy-a-pride-party-with-nicki-jizz-and-vivvy-tickets-629572256567?aff=ebdssbdestsearch\" target=\"_blank\" rel=\"noopener\">ENVY, a Pride Party with Nicki Jizz and Vivvy\u003c/a>\u003c/h3>\n\u003cp>\u003cem>June 25, 3–9 p.m.\u003cbr>\nEl Rio, San Francisco, $30\u003c/em>\u003c/p>\n\u003cp>Within the LGBTQIA+ community, drag and ballroom culture have long been touchstones for Black and brown queer/trans expression. Focused on Black queer liberation, ENVY will be bringing “sickening drag performances” by nine performers: \u003ca href=\"https://www.instagram.com/moniquefauxnique\">Fauxnique\u003c/a>, \u003ca href=\"https://www.instagram.com/ms_mahlae\">Mahlae Balenciaga\u003c/a>, \u003ca href=\"https://www.instagram.com/itslisafrankenstein\">Lisa Frankenstein\u003c/a>, \u003ca href=\"https://www.instagram.com/kochinarude\">Kochina 𝕽𝖚𝖉𝖊\u003c/a>, \u003ca href=\"https://www.instagram.com/eatmoresnaxx\">snaxx\u003c/a>, \u003ca href=\"https://www.instagram.com/tila_pia_\">Tila Pia\u003c/a>, \u003ca href=\"https://www.instagram.com/redbonempls/\">RedBone\u003c/a>, \u003ca href=\"https://www.instagram.com/churro_nomi\">Churro Nomi\u003c/a> and \u003ca href=\"https://www.instagram.com/veritas_22\">Vera Hannush\u003c/a>. Each artist presents their own bold vision: with perfectly styled wigs, flawless makeup and intricately designed wardrobes, they command the stage and connect with the crowd in ways that are irreplicable. People scream for them as they strut and dance, embodying self-assuredness. The space is infectious: it’s freeing, safe and joyous.\u003c/p>\n\u003cp>ENVY will be hosted by Bay Area drag royalty \u003ca href=\"https://www.instagram.com/vivvyanne_forevermore\">Vivvy\u003c/a> and \u003ca href=\"https://www.instagram.com/nicki_jizz\">Nicki Jizz\u003c/a>; the latter also hosts Reparations — an all-Black San Francisco drag show. The event will feature music by DJs \u003ca href=\"https://www.instagram.com/silkybrinny\">Silk Worm\u003c/a> and \u003ca href=\"https://www.instagram.com/sainthillsdj\">Saint Hills\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Join a march during the day, then dance all night at these vibrant, LGBTQ+ community-organized events. ","status":"publish","parent":0,"modified":1705005368,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":935},"headData":{"title":"SF Pride Party Guide 2023 | KQED","description":"Join a march during the day, then dance all night at these vibrant, LGBTQ+ community-organized events. ","ogTitle":"Drag, Dance and Liberation: 5 Parties for Your 2023 SF Pride Weekend","ogDescription":"","ogImgId":"","twTitle":"Drag, Dance and Liberation: 5 Parties for Your 2023 SF Pride Weekend","twDescription":"","twImgId":"","socialTitle":"SF Pride Party Guide 2023%%page%% %%sep%% KQED"},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13930587/drag-dance-and-liberation-5-parties-for-your-2023-sf-pride-weekend","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the last month, my group chats have been surging with excitement. Friends tease about who they’ll kiss at the next function, goading me on to be bold too. Just a few years ago, I’d never have imagined that this could be my reality — that I could feel comfortable enough in my identity to celebrate amongst fellow queer people. Now, these are the relationships that nourish me most — and bring me closer to understanding what it means to be part of the LGBTQ+ community.\u003c/p>\n\u003cp>At these Pride parties, expect to be swept up in intimate community spaces, where music reverberates and queer euphoria flourishes beneath dim light.\u003c/p>\n\u003cfigure id=\"attachment_13930597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/LadyRyan.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/LadyRyan-800x531.png\" alt='a Black woman with a shirt that reads \"end police terrorism\" smiles at the camera' width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/LadyRyan-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/LadyRyan-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/LadyRyan-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/LadyRyan-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/LadyRyan-1536x1019.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/LadyRyan-1920x1273.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/LadyRyan.png 1966w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">LadyRyan, a local DJ and creator of Soulovely — an Oakland day party for QTBIPOC communities — is an organizer and performer for the SF Queer Pride Party. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://wl.seetickets.us/event/SF-QueerPride/548749?afflky=1015Folsom\">SF Queer Pride Party\u003c/a>\u003c/h3>\n\u003cp>\u003cem>June 23, 10 p.m.\u003cbr>\n1015 Folsom, San Francisco, $60–$100\u003c/em>\u003c/p>\n\u003cp>A fixture in the Bay Area queer party scene returns with an electrifying lineup of DJs, rappers and performers. Organized by \u003ca href=\"https://www.instagram.com/swaggerlikeussf\">Swagger Like Us\u003c/a> — a Bay Area party platform focused on emerging queer talent — and local \u003ca href=\"https://www.instagram.com/djladyryan/?hl=en\">DJ LadyRyan\u003c/a>, this is a go-to annual event with an eclectic selection of musicians.\u003c/p>\n\u003cp>Notable performers this year include New York City rapper \u003ca href=\"https://www.instagram.com/daiburger\">Dai Burger\u003c/a>, whose diverse discography features both dreamy, feel-good club music and slower-tempo raps dripping with self-confidence. Berlin-based multidisciplinary rapper \u003ca href=\"https://www.instagram.com/zebrakatz\">Zebra Katz\u003c/a> will also join, bringing in seductive, high-tempo and experimental tracks that provide the atmosphere of a dark European techno rave. And for those seeking fast-paced ballroom beats, New Orleans-born \u003ca href=\"https://www.instagram.com/leonce\">DJ Leonce\u003c/a> will be mixing together funky electronic songs reminiscent of Atlanta’s ballrooms. Other artists include \u003ca href=\"https://www.instagram.com/aimathedrmr\">Aïma the Dreamer\u003c/a>, \u003ca href=\"https://www.instagram.com/sirjoq\">Sir JoQ\u003c/a> and \u003ca href=\"https://www.instagram.com/byrellthegreat\">Byrell the Great\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_lSGd7z4JgU'\n title='//www.youtube.com/embed/_lSGd7z4JgU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003ch3>\u003ca href=\"https://www.eventbrite.com/e/club-ablunt-ft-suzi-analogue-just-us-bright-beautiful-gay-as-fuck-tickets-639113434487\" target=\"_blank\" rel=\"noopener\">JUST US: Bright & Beautiful, Gay as Fuck\u003c/a>\u003c/h3>\n\u003cp>\u003cem>June 23, 10 p.m. \u003c/em>\u003cbr>\n\u003cem>CounterPulse, San Francisco, $20–$30\u003c/em>\u003c/p>\n\u003cp>For experimental music lovers, \u003ca href=\"https://www.instagram.com/clubablunt510\">CLUB A.B.L.U.N.T.\u003c/a> (Asian, Black, Latinx, Uniting with Native Tribes) is hosting an event that offers a more alternative dance party. With an all QTBIPOC lineup, JUST US will be headlined by Miami-based producer and music professor \u003ca href=\"https://www.instagram.com/\">Suzi Analogue\u003c/a>, whose sets layer lofi beats, ambient noise and irregular percussion to create a distinct, undefinable sound. Other performers include local \u003ca href=\"https://www.instagram.com/tecuani.feroz\">DJ De Alma\u003c/a>, whose hardcore sets are especially enticing to energetic Bay Area ravers. The event features two rooms and will be held at \u003ca href=\"https://counterpulse.org/\">CounterPulse\u003c/a>, a San Francisco venue dedicated to uplifting experimental dance, music and art.\u003c/p>\n\u003cfigure id=\"attachment_11907616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2016/08/big-freedia2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11907616\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/08/big-freedia2-800x533.jpg\" alt=\"Big Freedia at GastroMagic. (Wendy Goodfriend)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/big-freedia2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/big-freedia2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/big-freedia2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/big-freedia2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/big-freedia2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/big-freedia2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Big Freedia will headline one of five stages at the Pink Block, hosted by Polyglamorous SF. (Wendy Goodfriend) \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.eventbrite.com/e/pink-block-big-freedia-horse-meat-disco-doc-martin-kim-ann-foxman-tickets-539583908997\" target=\"_blank\" rel=\"noopener\">Pink Block — Polyglamorous Pride 2023\u003c/a>\u003c/h3>\n\u003cp>\u003cem>June 24, 12 p.m.–3 a.m.\u003cbr>\nThe Great Northern, San Francisco, $45–$130\u003c/em>\u003c/p>\n\u003cp>More like a mini-festival than a single party, the vibrant Pink Block will host performers on five different stages from day to night. Hosted by \u003ca href=\"https://www.instagram.com/polyglamoroussf\">Polyglamorous SF\u003c/a>, the gathering will be headlined by more than 40 musical artists, including New Orleans rapper and cultural icon \u003ca href=\"https://www.instagram.com/bigfreedia\">Big Freedia\u003c/a>, queer party favorite \u003ca href=\"https://www.instagram.com/horse_meat_disco\">Horse Meat Disco\u003c/a>, wavy techno DJ \u003ca href=\"https://www.instagram.com/kimannfoxma\">Kim Ann Foxman\u003c/a>, Russian punk rock group \u003ca href=\"https://www.instagram.com/pussyriot\">Pussy Riot\u003c/a>, former RuPaul’s Drag Race contestant and rapper \u003ca href=\"https://www.instagram.com/ajathekween\">Aja LaBeija\u003c/a> and more. There’s something here for music lovers across all different tastes, including more mellow, head-bumping EDM, funky fresh Italo disco remixes and electrifying bounce hip-hop performances.\u003c/p>\n\u003cfigure id=\"attachment_13914979\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914979\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-800x581.jpg\" alt=\"Crowd with drag queen and furry in dog costume at center\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-1536x1116.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita MORE!’s Pride party in 2021. The celebrated drag performer and activist will host a daylong Pride march and party June 25. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://juanitamore.com/about-jm-pride-2022\">Juanita MORE! Pride\u003c/a>\u003c/h3>\n\u003cp>\u003cem>June 25, 11 a.m.–7 p.m.\u003c/em>\u003cbr>\n\u003cem>Day Party: 620 Jones, San Francisco\u003cbr>\nNight Party: Halcyon, San Francisco, $35 (cash only)\u003c/em>\u003c/p>\n\u003cp>At the intersection of Polk and Washington Streets, crowds will gather early in the morning to join celebrated drag queen and activist \u003ca href=\"https://www.instagram.com/missmore8\">Juanita MORE!\u003c/a> for a march. Black and brown queer and trans community leaders will take the lead, rallying passionate attendees for LGBTQIA+ rights as they walk together in solidarity.\u003c/p>\n\u003cp>Afterwards, all are invited to attend a day party at cocktail bar \u003ca href=\"https://620-jones.com/\">620 Jones\u003c/a> and an evening dance party at nightclub \u003ca href=\"https://halcyon-sf.com/main/\">Halcyon\u003c/a>. The multifaceted, marathon event brings together eager people every year, intertwining social justice with high-energy dance and celebration.\u003c/p>\n\u003cfigure id=\"attachment_13915257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915257\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"drag queens dressed in colorful costumes on a float in downtown San Francisco\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz (left), drag queen and host of San Francisco Black drag show Reparations, will be hosting ENVY with fellow drag performer Vivvy on June 25. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.eventbrite.com/e/envy-a-pride-party-with-nicki-jizz-and-vivvy-tickets-629572256567?aff=ebdssbdestsearch\" target=\"_blank\" rel=\"noopener\">ENVY, a Pride Party with Nicki Jizz and Vivvy\u003c/a>\u003c/h3>\n\u003cp>\u003cem>June 25, 3–9 p.m.\u003cbr>\nEl Rio, San Francisco, $30\u003c/em>\u003c/p>\n\u003cp>Within the LGBTQIA+ community, drag and ballroom culture have long been touchstones for Black and brown queer/trans expression. Focused on Black queer liberation, ENVY will be bringing “sickening drag performances” by nine performers: \u003ca href=\"https://www.instagram.com/moniquefauxnique\">Fauxnique\u003c/a>, \u003ca href=\"https://www.instagram.com/ms_mahlae\">Mahlae Balenciaga\u003c/a>, \u003ca href=\"https://www.instagram.com/itslisafrankenstein\">Lisa Frankenstein\u003c/a>, \u003ca href=\"https://www.instagram.com/kochinarude\">Kochina 𝕽𝖚𝖉𝖊\u003c/a>, \u003ca href=\"https://www.instagram.com/eatmoresnaxx\">snaxx\u003c/a>, \u003ca href=\"https://www.instagram.com/tila_pia_\">Tila Pia\u003c/a>, \u003ca href=\"https://www.instagram.com/redbonempls/\">RedBone\u003c/a>, \u003ca href=\"https://www.instagram.com/churro_nomi\">Churro Nomi\u003c/a> and \u003ca href=\"https://www.instagram.com/veritas_22\">Vera Hannush\u003c/a>. Each artist presents their own bold vision: with perfectly styled wigs, flawless makeup and intricately designed wardrobes, they command the stage and connect with the crowd in ways that are irreplicable. People scream for them as they strut and dance, embodying self-assuredness. The space is infectious: it’s freeing, safe and joyous.\u003c/p>\n\u003cp>ENVY will be hosted by Bay Area drag royalty \u003ca href=\"https://www.instagram.com/vivvyanne_forevermore\">Vivvy\u003c/a> and \u003ca href=\"https://www.instagram.com/nicki_jizz\">Nicki Jizz\u003c/a>; the latter also hosts Reparations — an all-Black San Francisco drag show. The event will feature music by DJs \u003ca href=\"https://www.instagram.com/silkybrinny\">Silk Worm\u003c/a> and \u003ca href=\"https://www.instagram.com/sainthillsdj\">Saint Hills\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13930587/drag-dance-and-liberation-5-parties-for-your-2023-sf-pride-weekend","authors":["11813"],"categories":["arts_1","arts_835","arts_1003"],"tags":["arts_879","arts_1556","arts_1006","arts_2640","arts_2215","arts_3226","arts_5158","arts_7564"],"featImg":"arts_13930600","label":"arts"},"arts_13929138":{"type":"posts","id":"arts_13929138","meta":{"index":"posts_1591205157","site":"arts","id":"13929138","score":null,"sort":[1684180162000]},"guestAuthors":[],"slug":"in-oakland-a-drag-fest-for-the-community-by-the-community","title":"In Oakland, a Drag Fest for the Community, by the Community","publishDate":1684180162,"format":"standard","headTitle":"In Oakland, a Drag Fest for the Community, by the Community | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>For \u003ca href=\"https://www.instagram.com/beatrixlahaine/\">Beatrix Lahaine\u003c/a> and \u003ca href=\"https://www.instagram.com/mamacelestefanclub/\" target=\"_blank\" rel=\"noopener\">Mama Celeste\u003c/a>, drag has been about community from the start. Nearly a decade ago, both performers started participating in Bay Area nightlife to build queer connections. They soon found their place in San Francisco’s drag scene, with its subversive, no-rules style.\u003c/p>\n\u003cp>But when the fun turned into too many late nights out — “This was before Uber,” says Lahaine, “and I didn’t wanna take the late night bus” — they decided to bring it home over the bridge to the East Bay.\u003c/p>\n\u003cp>[aside postid='arts_13835533']In 2018, the duo founded \u003ca href=\"https://www.oaklash.com/\">Oaklash\u003c/a> as one night of drag shows. Now, their celebration has grown into a whole month of events designed to uplift local drag artists and provide them with resources to keep performing. For its sixth annual event this year, the Bay Area’s drag festival includes a series of panels and workshops — \u003ca href=\"https://www.eventbrite.com/e/black-brown-king-workshop-registration-620400553757\" target=\"_blank\" rel=\"noopener\">like one on May 17 for Black and brown drag kings\u003c/a> — all leading up to its main weekend of “nonstop” drag, from May 19–21.\u003c/p>\n\u003cp>Oaklash kicks off with Backlash at Thee Stork Club on Friday night, hosted by \u003ca href=\"https://www.instagram.com/kochinarude/\" target=\"_blank\" rel=\"noopener\">Kochina Rude\u003c/a> and featuring live sets by queer and trans musicians and bands.\u003c/p>\n\u003cfigure id=\"attachment_13929152\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929152\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-800x478.jpeg\" alt=\"a Black drag performer in a bright blue wig and red outfit performs in the street as a crowd looks on, smiling and cheering\" width=\"800\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-800x478.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-1020x610.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-160x96.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-768x459.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-1536x919.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-2048x1225.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-1920x1148.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Drag performer Bionka Simone at Oaklash 2022. \u003ccite>(Fred Rowe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saturday brings an all-ages block party to Old Oakland with two stages of live drag performances, DJs, and more at 9th & Washington. Performers come from the Bay and beyond — including \u003ca href=\"https://www.instagram.com/nicki_jizz/\" target=\"_blank\" rel=\"noopener\">Nicki Jizz\u003c/a>, recently crowned \u003ca href=\"https://twitter.com/SalinaEstitties/status/1657985795842805765\">Drag Queen of the Year\u003c/a> and host of SF Oasis’ \u003ca href=\"https://www.instagram.com/reparationssf/\" target=\"_blank\" rel=\"noopener\">Reparations drag show\u003c/a>, as well as \u003ca href=\"https://www.instagram.com/getjaxed/?hl=en\" target=\"_blank\" rel=\"noopener\">Jax\u003c/a> and\u003ca href=\"https://www.instagram.com/naomismalls/\"> Naomi Smalls\u003c/a> of \u003cem>RuPaul’s Drag Race\u003c/em>. It’s all followed by an Afterkii at the Continental Club, hosted by \u003ca href=\"https://www.instagram.com/princesspanocha/\" target=\"_blank\" rel=\"noopener\">Princess Panocha\u003c/a> and going until late.\u003c/p>\n\u003cp>Oaklash gets a fairytale ending with an adults-only takeover of \u003ca href=\"https://www.kqed.org/news/11948422/the-future-looks-bright-for-childrens-fairyland-as-it-seeks-to-better-reflect-oaklands-cultural-rainbow\">Children’s Fairyland\u003c/a> on Sunday night. “Who needs Disneyland?” says Lahaine. “We have actual drag at Fairyland, the one that started it all!”\u003c/p>\n\u003cp>At each event, say organizers, equity will take center stage: “It speaks to the authentic community nature of our event that we’re not the ones making all the decisions,” says Mama Celeste. The organization’s board has built the festival around a \u003ca href=\"https://www.oaklash.com/equity\">Cultural Equity Framework\u003c/a>, designed to mirror Oakland’s revolutionary and inclusive spirit. All talent was selected by other Bay Area artists — and they’re all being paid. Several focus on providing tough-to-find resources. For example, Oaklash hosted a workshop about lip syncing, a skill many performers aren’t even taught, as they’re simply expected to learn by watching, says Mama Celeste.\u003c/p>\n\u003cfigure id=\"attachment_13929153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929153\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-800x533.jpeg\" alt=\"a drag performer in high heel red boots laughs as she performs outside for a crowd\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mahlae Balenciaga performs at Oaklash 2022. \u003ccite>(Fred Rowe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We put out open calls for these workshops because we don’t want to decide what’s important for the community; we want the community to tell us what’s important.” All Oaklash events are ASL interpreted. Last year, the organization created the \u003ca href=\"https://48hills.org/2022/10/newly-established-oaklash-disability-fund-wants-to-make-drag-accessible-to-all/\">Oaklash Disability Fund\u003c/a> to make drag even more accessible to all.\u003c/p>\n\u003cp>With the scale of the festival growing each year, logistics can get crazy, says Beatrix. But the community’s enthusiasm keeps organizers going. “The Bay Area really supports new ideas and people who are trying new things,” says Beatrix. “I feel like there’s this ‘I can do that’ attitude that’s very accepting. Like, ‘If you want to do it, do it!’”\u003c/p>\n\u003cp>It’s this love that’s helped Oaklash evolve and thrive, says Mama Celeste: “It’s why we create these safe, welcoming, accessible, loving, heart-filled spaces — queer people deserve to forget about the rest of the world for a second and just kiki and party and have the most fun in their lives.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Oaklash hosts a series of workshops throughout May, leading up to a weekend of drag May 19–21. Highlights include the Oaklash Block Party in Old Oakland (9th and Broadway) and the Grand Finale at Children’s Fairyland (699 Bellevue Ave). \u003ca href=\"https://www.eventbrite.com/e/oaklash-2023-registration-526910382137\">Find tickets\u003c/a> and \u003ca href=\"https://www.oaklash.com/\">more info here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"In Oaklash's sixth year, the celebration brings accessible parties to Thee Stork Club, Fairyland and the streets. ","status":"publish","parent":0,"modified":1705005498,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":713},"headData":{"title":"In Oakland, a Drag Fest for the Community, by the Community | KQED","description":"In Oaklash's sixth year, the celebration brings accessible parties to Thee Stork Club, Fairyland and the streets. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"In Oakland, a Drag Fest for the Community, by the Community | KQED"},"sticky":false,"nprByline":"\u003ca href=\"https://www.kqed.org/author/emilianovilla\">Emiliano Villa\u003c/a>","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13929138/in-oakland-a-drag-fest-for-the-community-by-the-community","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For \u003ca href=\"https://www.instagram.com/beatrixlahaine/\">Beatrix Lahaine\u003c/a> and \u003ca href=\"https://www.instagram.com/mamacelestefanclub/\" target=\"_blank\" rel=\"noopener\">Mama Celeste\u003c/a>, drag has been about community from the start. Nearly a decade ago, both performers started participating in Bay Area nightlife to build queer connections. They soon found their place in San Francisco’s drag scene, with its subversive, no-rules style.\u003c/p>\n\u003cp>But when the fun turned into too many late nights out — “This was before Uber,” says Lahaine, “and I didn’t wanna take the late night bus” — they decided to bring it home over the bridge to the East Bay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13835533","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In 2018, the duo founded \u003ca href=\"https://www.oaklash.com/\">Oaklash\u003c/a> as one night of drag shows. Now, their celebration has grown into a whole month of events designed to uplift local drag artists and provide them with resources to keep performing. For its sixth annual event this year, the Bay Area’s drag festival includes a series of panels and workshops — \u003ca href=\"https://www.eventbrite.com/e/black-brown-king-workshop-registration-620400553757\" target=\"_blank\" rel=\"noopener\">like one on May 17 for Black and brown drag kings\u003c/a> — all leading up to its main weekend of “nonstop” drag, from May 19–21.\u003c/p>\n\u003cp>Oaklash kicks off with Backlash at Thee Stork Club on Friday night, hosted by \u003ca href=\"https://www.instagram.com/kochinarude/\" target=\"_blank\" rel=\"noopener\">Kochina Rude\u003c/a> and featuring live sets by queer and trans musicians and bands.\u003c/p>\n\u003cfigure id=\"attachment_13929152\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929152\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-800x478.jpeg\" alt=\"a Black drag performer in a bright blue wig and red outfit performs in the street as a crowd looks on, smiling and cheering\" width=\"800\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-800x478.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-1020x610.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-160x96.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-768x459.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-1536x919.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-2048x1225.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-1920x1148.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Drag performer Bionka Simone at Oaklash 2022. \u003ccite>(Fred Rowe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saturday brings an all-ages block party to Old Oakland with two stages of live drag performances, DJs, and more at 9th & Washington. Performers come from the Bay and beyond — including \u003ca href=\"https://www.instagram.com/nicki_jizz/\" target=\"_blank\" rel=\"noopener\">Nicki Jizz\u003c/a>, recently crowned \u003ca href=\"https://twitter.com/SalinaEstitties/status/1657985795842805765\">Drag Queen of the Year\u003c/a> and host of SF Oasis’ \u003ca href=\"https://www.instagram.com/reparationssf/\" target=\"_blank\" rel=\"noopener\">Reparations drag show\u003c/a>, as well as \u003ca href=\"https://www.instagram.com/getjaxed/?hl=en\" target=\"_blank\" rel=\"noopener\">Jax\u003c/a> and\u003ca href=\"https://www.instagram.com/naomismalls/\"> Naomi Smalls\u003c/a> of \u003cem>RuPaul’s Drag Race\u003c/em>. It’s all followed by an Afterkii at the Continental Club, hosted by \u003ca href=\"https://www.instagram.com/princesspanocha/\" target=\"_blank\" rel=\"noopener\">Princess Panocha\u003c/a> and going until late.\u003c/p>\n\u003cp>Oaklash gets a fairytale ending with an adults-only takeover of \u003ca href=\"https://www.kqed.org/news/11948422/the-future-looks-bright-for-childrens-fairyland-as-it-seeks-to-better-reflect-oaklands-cultural-rainbow\">Children’s Fairyland\u003c/a> on Sunday night. “Who needs Disneyland?” says Lahaine. “We have actual drag at Fairyland, the one that started it all!”\u003c/p>\n\u003cp>At each event, say organizers, equity will take center stage: “It speaks to the authentic community nature of our event that we’re not the ones making all the decisions,” says Mama Celeste. The organization’s board has built the festival around a \u003ca href=\"https://www.oaklash.com/equity\">Cultural Equity Framework\u003c/a>, designed to mirror Oakland’s revolutionary and inclusive spirit. All talent was selected by other Bay Area artists — and they’re all being paid. Several focus on providing tough-to-find resources. For example, Oaklash hosted a workshop about lip syncing, a skill many performers aren’t even taught, as they’re simply expected to learn by watching, says Mama Celeste.\u003c/p>\n\u003cfigure id=\"attachment_13929153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929153\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-800x533.jpeg\" alt=\"a drag performer in high heel red boots laughs as she performs outside for a crowd\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mahlae Balenciaga performs at Oaklash 2022. \u003ccite>(Fred Rowe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We put out open calls for these workshops because we don’t want to decide what’s important for the community; we want the community to tell us what’s important.” All Oaklash events are ASL interpreted. Last year, the organization created the \u003ca href=\"https://48hills.org/2022/10/newly-established-oaklash-disability-fund-wants-to-make-drag-accessible-to-all/\">Oaklash Disability Fund\u003c/a> to make drag even more accessible to all.\u003c/p>\n\u003cp>With the scale of the festival growing each year, logistics can get crazy, says Beatrix. But the community’s enthusiasm keeps organizers going. “The Bay Area really supports new ideas and people who are trying new things,” says Beatrix. “I feel like there’s this ‘I can do that’ attitude that’s very accepting. Like, ‘If you want to do it, do it!’”\u003c/p>\n\u003cp>It’s this love that’s helped Oaklash evolve and thrive, says Mama Celeste: “It’s why we create these safe, welcoming, accessible, loving, heart-filled spaces — queer people deserve to forget about the rest of the world for a second and just kiki and party and have the most fun in their lives.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Oaklash hosts a series of workshops throughout May, leading up to a weekend of drag May 19–21. Highlights include the Oaklash Block Party in Old Oakland (9th and Broadway) and the Grand Finale at Children’s Fairyland (699 Bellevue Ave). \u003ca href=\"https://www.eventbrite.com/e/oaklash-2023-registration-526910382137\">Find tickets\u003c/a> and \u003ca href=\"https://www.oaklash.com/\">more info here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929138/in-oakland-a-drag-fest-for-the-community-by-the-community","authors":["byline_arts_13929138"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_1003"],"tags":["arts_11374","arts_1556","arts_10278","arts_1143","arts_1334","arts_585","arts_699"],"featImg":"arts_13929146","label":"arts_140"},"arts_13927432":{"type":"posts","id":"arts_13927432","meta":{"index":"posts_1591205157","site":"arts","id":"13927432","score":null,"sort":[1680807609000]},"guestAuthors":[],"slug":"drag-up-fight-back-protest-san-francisco-trans-lgbtq","title":"Upcoming ‘Drag Up! Fight Back!’ Rally Protests a Deluge of Anti-LGBTQ+ Laws","publishDate":1680807609,"format":"standard","headTitle":"Upcoming ‘Drag Up! Fight Back!’ Rally Protests a Deluge of Anti-LGBTQ+ Laws | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In 1966, San Francisco drag queens and trans women who frequented Compton’s Cafeteria were fed up with police harassment. In those days, it was common for cops to brutalize gender nonconforming people and arrest them for crimes like “female impersonation.” One night, when police showed up at Compton’s and grabbed a trans woman’s arm, the patrons fought back — coffee cups went flying, purses clunked officers’ heads and a newsstand went ablaze.\u003c/p>\n\u003cp>This rebellion, and the one at New York’s Stonewall Inn three years later in 1969, set the stage for the modern-day LGBTQ+ rights movement. [aside postid='arts_11838357']\u003c/p>\n\u003cp>These days, in the age of rainbow corporate advertising at Pride, many (at least, in the Bay Area) have forgotten that queer visibility in mainstream spaces has not always been a given. But with \u003ca href=\"https://www.aclu.org/legislative-attacks-on-lgbtq-rights\">451 anti-LGBTQ+ bills\u003c/a> — most of them targeting trans rights — in statehouses nationwide this year alone, the conditions that led to the riot at Compton’s Cafeteria no longer feel like echoes from the distant past.\u003c/p>\n\u003cp>Tennessee’s anti-drag law, the first of its kind in the nation, was \u003ca href=\"https://www.politico.com/news/2023/04/01/federal-judge-temporarily-blocks-tennessees-anti-drag-law-00090047\">temporarily blocked by a federal judge\u003c/a>, and its fate will be decided in court. Using the archaic language of the Compton’s Cafeteria days, it categorizes “male or female impersonators” as inherently explicit — akin to strippers, no matter the content of their performance — and bans them from performing on public property or in places where minors could be present. LGBTQ+ advocates have called the law overly broad, raising fears that it could become a pretext for policing gender nonconforming people’s right to simply exist in public — an eerie callback to norms from over half a century ago.\u003c/p>\n\u003cp>“It’s a sliding slope,” says Honey Mahogany, the San Francisco Democratic Party chair and \u003ca href=\"https://www.kqed.org/arts/13901451/the-worlds-first-transgender-district-creates-a-support-system-in-san-francisco\">Transgender Cultural District\u003c/a> co-founder who first rose to prominence as a drag performer before entering politics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along with Alex U. Inn, \u003ca href=\"https://www.kqed.org/arts/13919897/san-francisco-arts-commission-juanita-more-30-years\">Juanita MORE!\u003c/a>, Oasis nightclub owner D’Arcy Drollinger and Sister Roma of the Sisters of Perpetual Indulgence, Mahogany is part of a coalition of drag activists organizing an upcoming march and rally called \u003ca href=\"https://www.mobilize.us/activateamerica/event/557263/\">Drag Up! Fight Back!\u003c/a> The protest kicks off this Saturday, April 8, at 11 a.m. outside San Francisco City Hall, and will move towards Union Square, where the day will finish with performances.\u003c/p>\n\u003cfigure id=\"attachment_13899475\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899475\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(From left) John Weber, Alex U. Inn, Juanita MORE! and Leandro Gonzales lead the People’s March and Rally in San Francisco on June 27, 2021. Inn and MORE! are two key organizers of Drag Up! Fight Back! \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The LGBTQ community is not taking this lying down,” Mahogany says. “Drag queens will not be silenced and we will not go back to the closet. We will not be relegated to just the back of a dark room in a club. We are here, part of the community.”\u003c/p>\n\u003cp>She and other advocates don’t buy rightwing lawmakers’ guise of protecting children by restricting drag — a freedom of expression protected by the First Amendment. “It’s an art form,” she says. “And like all arts, it can be provocative, it can be explicit. And it can also be child appropriate. We’ve seen that play out through Drag Story Hour in many really wonderful ways that have been both affirming for the community and also affirming for a lot of those kids.”\u003c/p>\n\u003cp>[aside postid='arts_13926077']Drag Up! Fight Back! anticipates thousands of attendees, and has garnered support from lawmakers like State Senator Scott Wiener. He says that while these attacks on LGBTQ+ rights are playing out mostly in red states, Californians shouldn’t be complacent. “If the Republicans take over both the Congress and the presidency in the future, they will absolutely pass these laws into effect nationally,” he says. “We’re already seeing this with abortion, that they’re trying to effectively ban abortion pills nationwide. They will do the same with respect to LGBTQ people. This is our fight and it’s our fight everywhere.”\u003c/p>\n\u003cp>Outside of attending Saturday’s march, Wiener says Californians can help by supporting frontline LGBTQ+ organizations in other states. He and Mahogany both pointed to the importance of electing pro-LGBTQ+ political candidates. Mahogany says the San Francisco Democratic Party recently phone-banked to turn out voters for a federal judges’ race in Wisconsin.\u003c/p>\n\u003cp>“That is going to have huge consequences for the people of Wisconsin because when these types of laws and bills are passed, we know that we have a judge who is going to be impartial and enforce our Constitution,” Mahogany says.\u003c/p>\n\u003cp>Drag Up! Fight Back! comes during a particularly difficult week for the LGBTQ+ arts community. Just days ago, on Monday, San Francisco drag icon \u003ca href=\"https://www.kqed.org/arts/13927233/heklina-dies-drag-legend-san-francsico\">Heklina unexpectedly died\u003c/a> while on tour in London. Though many are mourning, Mahogany says Heklina’s defiant spirit is also a source of motivation.\u003c/p>\n\u003cp>“If we don’t stand up now, then Heklinas of the future won’t be able to do what she has been able to achieve,” she says. “We’re fighting for all of the people that came before us. And I think it makes us even more determined to have our voice heard.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.mobilize.us/activateamerica/event/557263/\">Drag Up! Fight Back!\u003c/a> begins at San Francisco City Hall on April 8 at 11 a.m. The march moves to Union Square where it will continue with a rally and performances until 3 p.m. \u003ca href=\"https://www.instagram.com/honeymahogany/\">Follow Honey Mahogany on Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"On April 8 at San Francisco City Hall, Honey Mahogany, Juanita MORE! and others will lead a demonstration.","status":"publish","parent":0,"modified":1705005657,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":963},"headData":{"title":"‘Drag Up! Fight Back!’ Event Protests Anti-LGBTQ+ Laws | KQED","description":"On April 8 at San Francisco City Hall, Honey Mahogany, Juanita MORE! and others will lead a demonstration.","ogTitle":"Upcoming ‘Drag Up! Fight Back!’ Rally Protests a Deluge of Anti-LGBTQ+ Laws","ogDescription":"","ogImgId":"","twTitle":"Upcoming ‘Drag Up! Fight Back!’ Rally Protests a Deluge of Anti-LGBTQ+ Laws","twDescription":"","twImgId":"","socialTitle":"‘Drag Up! Fight Back!’ Event Protests Anti-LGBTQ+ Laws %%page%% %%sep%% KQED"},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/16bbe610-1b1e-4917-a515-afdc012cc29e/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13927432/drag-up-fight-back-protest-san-francisco-trans-lgbtq","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1966, San Francisco drag queens and trans women who frequented Compton’s Cafeteria were fed up with police harassment. In those days, it was common for cops to brutalize gender nonconforming people and arrest them for crimes like “female impersonation.” One night, when police showed up at Compton’s and grabbed a trans woman’s arm, the patrons fought back — coffee cups went flying, purses clunked officers’ heads and a newsstand went ablaze.\u003c/p>\n\u003cp>This rebellion, and the one at New York’s Stonewall Inn three years later in 1969, set the stage for the modern-day LGBTQ+ rights movement. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_11838357","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These days, in the age of rainbow corporate advertising at Pride, many (at least, in the Bay Area) have forgotten that queer visibility in mainstream spaces has not always been a given. But with \u003ca href=\"https://www.aclu.org/legislative-attacks-on-lgbtq-rights\">451 anti-LGBTQ+ bills\u003c/a> — most of them targeting trans rights — in statehouses nationwide this year alone, the conditions that led to the riot at Compton’s Cafeteria no longer feel like echoes from the distant past.\u003c/p>\n\u003cp>Tennessee’s anti-drag law, the first of its kind in the nation, was \u003ca href=\"https://www.politico.com/news/2023/04/01/federal-judge-temporarily-blocks-tennessees-anti-drag-law-00090047\">temporarily blocked by a federal judge\u003c/a>, and its fate will be decided in court. Using the archaic language of the Compton’s Cafeteria days, it categorizes “male or female impersonators” as inherently explicit — akin to strippers, no matter the content of their performance — and bans them from performing on public property or in places where minors could be present. LGBTQ+ advocates have called the law overly broad, raising fears that it could become a pretext for policing gender nonconforming people’s right to simply exist in public — an eerie callback to norms from over half a century ago.\u003c/p>\n\u003cp>“It’s a sliding slope,” says Honey Mahogany, the San Francisco Democratic Party chair and \u003ca href=\"https://www.kqed.org/arts/13901451/the-worlds-first-transgender-district-creates-a-support-system-in-san-francisco\">Transgender Cultural District\u003c/a> co-founder who first rose to prominence as a drag performer before entering politics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along with Alex U. Inn, \u003ca href=\"https://www.kqed.org/arts/13919897/san-francisco-arts-commission-juanita-more-30-years\">Juanita MORE!\u003c/a>, Oasis nightclub owner D’Arcy Drollinger and Sister Roma of the Sisters of Perpetual Indulgence, Mahogany is part of a coalition of drag activists organizing an upcoming march and rally called \u003ca href=\"https://www.mobilize.us/activateamerica/event/557263/\">Drag Up! Fight Back!\u003c/a> The protest kicks off this Saturday, April 8, at 11 a.m. outside San Francisco City Hall, and will move towards Union Square, where the day will finish with performances.\u003c/p>\n\u003cfigure id=\"attachment_13899475\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899475\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(From left) John Weber, Alex U. Inn, Juanita MORE! and Leandro Gonzales lead the People’s March and Rally in San Francisco on June 27, 2021. Inn and MORE! are two key organizers of Drag Up! Fight Back! \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The LGBTQ community is not taking this lying down,” Mahogany says. “Drag queens will not be silenced and we will not go back to the closet. We will not be relegated to just the back of a dark room in a club. We are here, part of the community.”\u003c/p>\n\u003cp>She and other advocates don’t buy rightwing lawmakers’ guise of protecting children by restricting drag — a freedom of expression protected by the First Amendment. “It’s an art form,” she says. “And like all arts, it can be provocative, it can be explicit. And it can also be child appropriate. We’ve seen that play out through Drag Story Hour in many really wonderful ways that have been both affirming for the community and also affirming for a lot of those kids.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926077","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Drag Up! Fight Back! anticipates thousands of attendees, and has garnered support from lawmakers like State Senator Scott Wiener. He says that while these attacks on LGBTQ+ rights are playing out mostly in red states, Californians shouldn’t be complacent. “If the Republicans take over both the Congress and the presidency in the future, they will absolutely pass these laws into effect nationally,” he says. “We’re already seeing this with abortion, that they’re trying to effectively ban abortion pills nationwide. They will do the same with respect to LGBTQ people. This is our fight and it’s our fight everywhere.”\u003c/p>\n\u003cp>Outside of attending Saturday’s march, Wiener says Californians can help by supporting frontline LGBTQ+ organizations in other states. He and Mahogany both pointed to the importance of electing pro-LGBTQ+ political candidates. Mahogany says the San Francisco Democratic Party recently phone-banked to turn out voters for a federal judges’ race in Wisconsin.\u003c/p>\n\u003cp>“That is going to have huge consequences for the people of Wisconsin because when these types of laws and bills are passed, we know that we have a judge who is going to be impartial and enforce our Constitution,” Mahogany says.\u003c/p>\n\u003cp>Drag Up! Fight Back! comes during a particularly difficult week for the LGBTQ+ arts community. Just days ago, on Monday, San Francisco drag icon \u003ca href=\"https://www.kqed.org/arts/13927233/heklina-dies-drag-legend-san-francsico\">Heklina unexpectedly died\u003c/a> while on tour in London. Though many are mourning, Mahogany says Heklina’s defiant spirit is also a source of motivation.\u003c/p>\n\u003cp>“If we don’t stand up now, then Heklinas of the future won’t be able to do what she has been able to achieve,” she says. “We’re fighting for all of the people that came before us. And I think it makes us even more determined to have our voice heard.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.mobilize.us/activateamerica/event/557263/\">Drag Up! Fight Back!\u003c/a> begins at San Francisco City Hall on April 8 at 11 a.m. The march moves to Union Square where it will continue with a rally and performances until 3 p.m. \u003ca href=\"https://www.instagram.com/honeymahogany/\">Follow Honey Mahogany on Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13927432/drag-up-fight-back-protest-san-francisco-trans-lgbtq","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_235","arts_1003"],"tags":["arts_1556","arts_7620","arts_10278","arts_3226","arts_585"],"featImg":"arts_13915269","label":"arts_140"},"arts_13927233":{"type":"posts","id":"arts_13927233","meta":{"index":"posts_1591205157","site":"arts","id":"13927233","score":null,"sort":[1680558814000]},"guestAuthors":[],"slug":"heklina-dies-drag-legend-san-francsico","title":"Heklina, San Francisco Drag Legend, Has Died in London","publishDate":1680558814,"format":"standard","headTitle":"Heklina, San Francisco Drag Legend, Has Died in London | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Heklina, the San Francisco drag legend and longtime performer at clubs around the city, has died in London, according to multiple reports.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.facebook.com/joshuagrannell/posts/pfbid02KjDojuS1c3sNoGwranKLk9FKkfunAZYLBj3GD3qJhiKW5t7kmqVRsCDfdqoUWHWel\">a Facebook post\u003c/a> on Monday, friend and colleague Peaches Christ wrote, “I am shocked and horrified to bring this news to you. … This morning, in London, England, I went to collect my dear friend Heklina, who is co-starring with me in a ‘Mommie Queerest’ show here, and found her dead. I do not know the cause of death yet. I know this is shocking news and I am beyond stunned.”\u003c/p>\n\u003cp>London’s Soho Theatre, where Peaches Christ and Heklina had been performing together in “Mommie Queerest,” also \u003ca href=\"https://twitter.com/sohotheatre/status/1642989190072680451\">posted a message\u003c/a> of being “in shock and incredibly saddened with news of Heklina’s passing. Our thoughts are with Peaches, Mommie Queerest company, Heklina’s family, friends + their wider community.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watch a short documentary on Heklina here\u003c/strong>:\u003c/em>\u003cbr>\nhttps://www.youtube.com/watch?v=61qbUimYg9g\u003c/p>\n\u003cp>Heklina co-founded popular drag club Oasis, regularly performed at El Rio and The Stud, and was the creator and hostess of the long-running show Trannyshack (later called Mother). Heklina appeared regularly in drag parodies of popular television shows like \u003cem>Sex in the City\u003c/em>, \u003cem>Golden Girls\u003c/em> and \u003cem>Roseanne\u003c/em>, and produced and hosted a party called Daytime Realness — with the tagline “Dancing, Drag & Disorder” — most recently at El Rio just weeks ago, on March 19.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We at El Rio are absolutely devastated to hear of the passing of Heklina,” wrote El Rio co-owner Lynne Angel in an email to KQED. “She was a huge part of our extended family and we will miss her terribly. The mark she made on the San Francisco drag and performance scene is incomparable. We were blessed to work with her often and she was a joy to witness both on stage and off. May she be surrounded by cats, ’80s New Wave and football butts eternally. Rest in Power to one of the best.”\u003c/p>\n\u003cp>Heklina was born in Minneapolis, and was raised in New York, New England and Iceland. After a stint in the Navy, Heklina moved to San Francisco; in an interview segment from a KQED documentary in 2015, Heklina recalled that “immediately I fell in love with it, and I felt right at home.”\u003c/p>\n\u003cfigure id=\"attachment_12242568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12242568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/10/heklina-2015-800x533.jpg\" alt=\"Heklina\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Heklina, pictured here in a promotional photo for one of many events at Oasis. \u003ccite>(Nick Ice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I met Heklina around 1995 — which now feels like many generations past, just a year before she started her weekly party T-Shack at The Stud,” veteran drag performer Juanita MORE! wrote in an email to KQED. “I performed on the second week of the club, not caring or taking any consideration about what the theme was — and that’s how our friendship rolled. … We respected and knew what each other was great at doing. We cracked each other up all the time. The sound of her laugh will be missed greatly by everyone.”\u003c/p>\n\u003cp>[aside postID='arts_10134691']Artist and filmmaker Leo Herrera started working for Heklina as a photographer shortly after he first moved to San Francisco in 2003; Herrera was 21 at the time. By then, Trannyshack had become a San Francisco drag institution, and Heklina took Herrera under her wing. “Trannyshack brought drag back to its transgressive roots, and its roots of political resistance,” Herrera said. “There was a lot of healing that happened in the spaces that Heklina created, especially for folks that had come out of the AIDS crisis, and had moved from really homophobic places, like it was for me and my brother.”\u003c/p>\n\u003cp>Herrera says Heklina influenced a generation of artists — both drag performers and others like him who’ve gone on to make an impact in other fields. “I think a lot of us always strived to get her approval because it was really hard to. But once you got one of her deep cackles, you knew you had done something right.”\u003c/p>\n\u003cp>https://twitter.com/sfoasis/status/1643009770927042560\u003c/p>\n\u003cp>News of Heklina’s passing devastated the drag community in San Francisco and beyond. “I kept thinking it was an April Fool’s joke, it doesn’t make sense. I spoke to her the day before yesterday when she was heading to England from Iceland,” Oasis owner D’Arcy Drollinger told the \u003ca href=\"https://datebook.sfchronicle.com/entertainment/drag-performer-heklina-reported-dead-in-london\">\u003ci>San Francisco Chronicle\u003c/i>\u003c/a>. “But it is confirmed, it is real.”\u003c/p>\n\u003cp>By Monday afternoon, a tearful crowd gathered for an informal memorial at Oasis, which Heklina co-owned until 2019. “She was a powerhouse. And she also had a soft side, and a vulnerable side, that I was lucky enough to get to know,” booking manager Carissa Hatchel, who performs as Snaxx, told KQED. “She was a very complicated person, and was very, very important to so many people in the community for so many decades now.”\u003c/p>\n\u003cp>“I started drag about eight years ago, and Heklina was one of the first queens I ever saw,” said Oasis performer Nicki Jizz. “She was unfiltered, she was unapologetically Heklina. She said whatever came to her mind. She didn’t care what anyone thought — which is a great trait for a drag performer.”\u003c/p>\n\u003cp>In a statement, State Senator Scott Wiener said he first saw Heklina perform in the 1990s, and was “devastated” by the news.\u003c/p>\n\u003cp>“Heklina was an icon in the truest sense — funny, caring, outrageous, and brave,” Wiener wrote. “I’ve rarely worked with someone as fierce, creative, and dedicated. … She was the soul of San Francisco, and it’s hard to imagine the city without her.”\u003c/p>\n\u003cp>Herrera echoed the sentiments of many on Monday that Heklina was synonymous with the best of drag tradition.\u003c/p>\n\u003cp>“A successful artist embodies their medium, so when we think of a brush or an instrument, we think of their name,” he said. “And I think for many of us, when we hear drag, we’re going to think of Heklina. She embodied the oldest and most powerful kind of drag that was about survival and political freedom, and I think we’re all going to miss that very much.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/author/scottshafer\">Scott Shafer\u003c/a> contributed to this report. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Heklina was a well-known drag performer on stages at San Francisco clubs like Oasis, El Rio and The Stud.","status":"publish","parent":0,"modified":1705005669,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1086},"headData":{"title":"Heklina, San Francisco Drag Legend, Has Died in London | KQED","description":"Heklina was a well-known drag performer on stages at San Francisco clubs like Oasis, El Rio and The Stud.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"WpOldSlug":"heklina-san-francisco-drag-legend-has-reportedly-died-in-london","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13927233/heklina-dies-drag-legend-san-francsico","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Heklina, the San Francisco drag legend and longtime performer at clubs around the city, has died in London, according to multiple reports.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.facebook.com/joshuagrannell/posts/pfbid02KjDojuS1c3sNoGwranKLk9FKkfunAZYLBj3GD3qJhiKW5t7kmqVRsCDfdqoUWHWel\">a Facebook post\u003c/a> on Monday, friend and colleague Peaches Christ wrote, “I am shocked and horrified to bring this news to you. … This morning, in London, England, I went to collect my dear friend Heklina, who is co-starring with me in a ‘Mommie Queerest’ show here, and found her dead. I do not know the cause of death yet. I know this is shocking news and I am beyond stunned.”\u003c/p>\n\u003cp>London’s Soho Theatre, where Peaches Christ and Heklina had been performing together in “Mommie Queerest,” also \u003ca href=\"https://twitter.com/sohotheatre/status/1642989190072680451\">posted a message\u003c/a> of being “in shock and incredibly saddened with news of Heklina’s passing. Our thoughts are with Peaches, Mommie Queerest company, Heklina’s family, friends + their wider community.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watch a short documentary on Heklina here\u003c/strong>:\u003c/em>\u003cbr>\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/61qbUimYg9g'\n title='//www.youtube.com/embed/61qbUimYg9g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Heklina co-founded popular drag club Oasis, regularly performed at El Rio and The Stud, and was the creator and hostess of the long-running show Trannyshack (later called Mother). Heklina appeared regularly in drag parodies of popular television shows like \u003cem>Sex in the City\u003c/em>, \u003cem>Golden Girls\u003c/em> and \u003cem>Roseanne\u003c/em>, and produced and hosted a party called Daytime Realness — with the tagline “Dancing, Drag & Disorder” — most recently at El Rio just weeks ago, on March 19.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We at El Rio are absolutely devastated to hear of the passing of Heklina,” wrote El Rio co-owner Lynne Angel in an email to KQED. “She was a huge part of our extended family and we will miss her terribly. The mark she made on the San Francisco drag and performance scene is incomparable. We were blessed to work with her often and she was a joy to witness both on stage and off. May she be surrounded by cats, ’80s New Wave and football butts eternally. Rest in Power to one of the best.”\u003c/p>\n\u003cp>Heklina was born in Minneapolis, and was raised in New York, New England and Iceland. After a stint in the Navy, Heklina moved to San Francisco; in an interview segment from a KQED documentary in 2015, Heklina recalled that “immediately I fell in love with it, and I felt right at home.”\u003c/p>\n\u003cfigure id=\"attachment_12242568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12242568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/10/heklina-2015-800x533.jpg\" alt=\"Heklina\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Heklina, pictured here in a promotional photo for one of many events at Oasis. \u003ccite>(Nick Ice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I met Heklina around 1995 — which now feels like many generations past, just a year before she started her weekly party T-Shack at The Stud,” veteran drag performer Juanita MORE! wrote in an email to KQED. “I performed on the second week of the club, not caring or taking any consideration about what the theme was — and that’s how our friendship rolled. … We respected and knew what each other was great at doing. We cracked each other up all the time. The sound of her laugh will be missed greatly by everyone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_10134691","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Artist and filmmaker Leo Herrera started working for Heklina as a photographer shortly after he first moved to San Francisco in 2003; Herrera was 21 at the time. By then, Trannyshack had become a San Francisco drag institution, and Heklina took Herrera under her wing. “Trannyshack brought drag back to its transgressive roots, and its roots of political resistance,” Herrera said. “There was a lot of healing that happened in the spaces that Heklina created, especially for folks that had come out of the AIDS crisis, and had moved from really homophobic places, like it was for me and my brother.”\u003c/p>\n\u003cp>Herrera says Heklina influenced a generation of artists — both drag performers and others like him who’ve gone on to make an impact in other fields. “I think a lot of us always strived to get her approval because it was really hard to. But once you got one of her deep cackles, you knew you had done something right.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1643009770927042560"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>News of Heklina’s passing devastated the drag community in San Francisco and beyond. “I kept thinking it was an April Fool’s joke, it doesn’t make sense. I spoke to her the day before yesterday when she was heading to England from Iceland,” Oasis owner D’Arcy Drollinger told the \u003ca href=\"https://datebook.sfchronicle.com/entertainment/drag-performer-heklina-reported-dead-in-london\">\u003ci>San Francisco Chronicle\u003c/i>\u003c/a>. “But it is confirmed, it is real.”\u003c/p>\n\u003cp>By Monday afternoon, a tearful crowd gathered for an informal memorial at Oasis, which Heklina co-owned until 2019. “She was a powerhouse. And she also had a soft side, and a vulnerable side, that I was lucky enough to get to know,” booking manager Carissa Hatchel, who performs as Snaxx, told KQED. “She was a very complicated person, and was very, very important to so many people in the community for so many decades now.”\u003c/p>\n\u003cp>“I started drag about eight years ago, and Heklina was one of the first queens I ever saw,” said Oasis performer Nicki Jizz. “She was unfiltered, she was unapologetically Heklina. She said whatever came to her mind. She didn’t care what anyone thought — which is a great trait for a drag performer.”\u003c/p>\n\u003cp>In a statement, State Senator Scott Wiener said he first saw Heklina perform in the 1990s, and was “devastated” by the news.\u003c/p>\n\u003cp>“Heklina was an icon in the truest sense — funny, caring, outrageous, and brave,” Wiener wrote. “I’ve rarely worked with someone as fierce, creative, and dedicated. … She was the soul of San Francisco, and it’s hard to imagine the city without her.”\u003c/p>\n\u003cp>Herrera echoed the sentiments of many on Monday that Heklina was synonymous with the best of drag tradition.\u003c/p>\n\u003cp>“A successful artist embodies their medium, so when we think of a brush or an instrument, we think of their name,” he said. “And I think for many of us, when we hear drag, we’re going to think of Heklina. She embodied the oldest and most powerful kind of drag that was about survival and political freedom, and I think we’re all going to miss that very much.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/author/scottshafer\">Scott Shafer\u003c/a> contributed to this report. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13927233/heklina-dies-drag-legend-san-francsico","authors":["11387","185"],"categories":["arts_1","arts_835","arts_69","arts_235","arts_1003","arts_1564","arts_967"],"tags":["arts_1556","arts_10342","arts_1328","arts_3226","arts_10555"],"featImg":"arts_11161564","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2023/08/possible-5gxfizEbKOJ-pbF5ASgxrs_.1400x1400.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2021/10/ATC_1400.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/powerpress/1440_0018_AmericanSuburb_iTunesTile_01.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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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. 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