How Hip-Hop Led To Studying the Bay Area’s AIDS Epidemic
'It's a Sin' Series, Set During AIDS Epidemic, Resonates During COVID-19
Parallel Lives: Community Organizer and the First Openly Gay Black MLB Player
27 Years Later, Nine Artists Consider Kiki Gallery—Within its Same Walls
Larry Kramer, Playwright and AIDS Activist, Dies at 84
'With(out) With(in) the Very Moment' Honors Legacies of AIDS Activism Through Art
Filmmaker Leo Herrera Imagines an Alternate World Without AIDS
Race, Sex and Repression on the Airwaves
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He says it was his love of music that eventually brought him to research the AIDS epidemic for his PhD. He was surveying songs that addressed problems like police violence and the crack epidemic, but Johnson says he wasn’t finding too many tracks that talked about HIV/ AIDS. So he began researching, and hasn’t stopped.\u003c/p>\n\u003cp>This past year, after the police killings of George Floyd and Breonna Taylor sparked a heightened awareness around institutionalized racism, Johnson and a couple of colleagues compiled a syllabus called, “\u003ca href=\"https://www.aaihs.org/syllabus-a-history-of-anti-black-racism-in-medicine/?utm_source=rss&utm_medium=rss&utm_campaign=syllabus-a-history-of-anti-black-racism-in-medicine\" target=\"_blank\" rel=\"noopener noreferrer\">A History of Anti-Black Racism in Medicine,\u003c/a>” for people who are interested in learning more about the intersection of healthcare of Black history.\u003c/p>\n\u003cp>On this episode, we discuss Johnson’s love for learning and teaching, passion for hip-hop, and how his highly important research into the HIV/ AIDS epidemic of the ’80s and ’90s is still extremely relevant to this day.\u003c/p>\n\u003cfigure id=\"attachment_13892989\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892989\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Image-from-iOS-71-800x1067.jpg\" alt='Antoine Johnson sits in front of a bookshelf, looking down at the camera, one hand supports his head thoughtfully, but he looks sharp and ready. His light gray sweatshirt says \"Anti-Gun Violence\". Behind him are shelves of books and certificates.' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antoine Johnson\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Antoine Johnson.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What are you pursuing with your PHD ?\u003c/em>\u003c/p>\n\u003cp>Antoine: My dissertation looks at HIV and AIDS among Black people in the Bay Area and ways that racism, specifically state sanctioned violence through underemployment, poverty housing insecurity, and inadequate health care contributes to Black people’s disease susceptibility.\u003c/p>\n\u003cp>Antoine: One of the chapters I wrote on was about a sex workers organization called CAL-PEP, California Prostitutes Education Project. They were created in 1984. They wanted to highlight the way that Black women, in particular, were affected by HIV and AIDS, and how that differed from Black men, which differed from white men.\u003c/p>\n\u003cp>Antoine: At the time, AIDS was seen as a gay white disease. And that’s the way that the media covered it. That’s the way that health professionals responded to it and the way that politicians responded to it as well.\u003c/p>\n\u003cp>Antoine: And the thing was, sex workers were being ostracized for carrying the disease. But they were pointing out, you know, the vast majority of our customers are married white men, but they don’t receive the same criticism and public scrutiny that we do. So that’s the intersectional lens that I approach that chapter from.\u003c/p>\n\u003cp>Antoine: The \u003ca href=\"https://www.calpep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">CAL-PEP\u003c/a> chapter took a while to develop because… they’ve been blamed so much that they stopped trusting and working with, journalists, and epidemiologists, people from the health field, so it literally took me almost a year just to get any information from them to hang out with them.\u003c/p>\n\u003cp>Antoine: You know, to be in conversation with the founder, shout out to Gloria Lockett and their great people, you know, but it’s like we don’t want people coming in using our names and our info and then slandering us. Being from the Town, I’m not about to disrespect people who were out here. They’re sex workers already, they’re negatively perceived, so I need to make sure that I humanize them as best I can.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"What can hip-hop teach us about the HIV/ AIDS epidemic? Professor Antoine Johnson is on the path to finding out.","status":"publish","parent":0,"modified":1705019453,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":659},"headData":{"title":"How Hip-Hop Led To Studying the Bay Area’s AIDS Epidemic | KQED","description":"What can hip-hop teach us about the HIV/ AIDS epidemic? Professor Antoine Johnson is on the path to finding out.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Hip-Hop Led To Studying the Bay Area’s AIDS Epidemic","datePublished":"2021-02-19T11:00:23.000Z","dateModified":"2024-01-12T00:30:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Rightnowish","sourceUrl":"https://www.kqed.org/podcasts/rightnowish","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC7406760499.mp3?updated=1613694247","sticky":false,"path":"/arts/13892909/13892909","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC7406760499&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/AJohnsonHist\" target=\"_blank\" rel=\"noopener noreferrer\">Antoine Johnson\u003c/a> stands at the intersection of hip-hop culture, HIV/ AIDS history, and the great institutions of higher learning in Northern California.\u003c/p>\n\u003cp>A graduate of Oakland’s Castlemont High School and Sacramento State University, Johnson is now a PhD candidate at UCSF where he’s researching the HIV/AIDS epidemic, and how the community– including a group of Black women in Oakland– responded.\u003c/p>\n\u003cp>Johnson is also a professor at UC Davis where he leads a course that uses hip-hop as a tool to understand larger societal issues. He says it was his love of music that eventually brought him to research the AIDS epidemic for his PhD. He was surveying songs that addressed problems like police violence and the crack epidemic, but Johnson says he wasn’t finding too many tracks that talked about HIV/ AIDS. So he began researching, and hasn’t stopped.\u003c/p>\n\u003cp>This past year, after the police killings of George Floyd and Breonna Taylor sparked a heightened awareness around institutionalized racism, Johnson and a couple of colleagues compiled a syllabus called, “\u003ca href=\"https://www.aaihs.org/syllabus-a-history-of-anti-black-racism-in-medicine/?utm_source=rss&utm_medium=rss&utm_campaign=syllabus-a-history-of-anti-black-racism-in-medicine\" target=\"_blank\" rel=\"noopener noreferrer\">A History of Anti-Black Racism in Medicine,\u003c/a>” for people who are interested in learning more about the intersection of healthcare of Black history.\u003c/p>\n\u003cp>On this episode, we discuss Johnson’s love for learning and teaching, passion for hip-hop, and how his highly important research into the HIV/ AIDS epidemic of the ’80s and ’90s is still extremely relevant to this day.\u003c/p>\n\u003cfigure id=\"attachment_13892989\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892989\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Image-from-iOS-71-800x1067.jpg\" alt='Antoine Johnson sits in front of a bookshelf, looking down at the camera, one hand supports his head thoughtfully, but he looks sharp and ready. His light gray sweatshirt says \"Anti-Gun Violence\". Behind him are shelves of books and certificates.' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antoine Johnson\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Antoine Johnson.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What are you pursuing with your PHD ?\u003c/em>\u003c/p>\n\u003cp>Antoine: My dissertation looks at HIV and AIDS among Black people in the Bay Area and ways that racism, specifically state sanctioned violence through underemployment, poverty housing insecurity, and inadequate health care contributes to Black people’s disease susceptibility.\u003c/p>\n\u003cp>Antoine: One of the chapters I wrote on was about a sex workers organization called CAL-PEP, California Prostitutes Education Project. They were created in 1984. They wanted to highlight the way that Black women, in particular, were affected by HIV and AIDS, and how that differed from Black men, which differed from white men.\u003c/p>\n\u003cp>Antoine: At the time, AIDS was seen as a gay white disease. And that’s the way that the media covered it. That’s the way that health professionals responded to it and the way that politicians responded to it as well.\u003c/p>\n\u003cp>Antoine: And the thing was, sex workers were being ostracized for carrying the disease. But they were pointing out, you know, the vast majority of our customers are married white men, but they don’t receive the same criticism and public scrutiny that we do. So that’s the intersectional lens that I approach that chapter from.\u003c/p>\n\u003cp>Antoine: The \u003ca href=\"https://www.calpep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">CAL-PEP\u003c/a> chapter took a while to develop because… they’ve been blamed so much that they stopped trusting and working with, journalists, and epidemiologists, people from the health field, so it literally took me almost a year just to get any information from them to hang out with them.\u003c/p>\n\u003cp>Antoine: You know, to be in conversation with the founder, shout out to Gloria Lockett and their great people, you know, but it’s like we don’t want people coming in using our names and our info and then slandering us. Being from the Town, I’m not about to disrespect people who were out here. They’re sex workers already, they’re negatively perceived, so I need to make sure that I humanize them as best I can.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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/13892909/13892909","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1","arts_21759"],"tags":["arts_2449","arts_1118","arts_831","arts_6764"],"featImg":"arts_13892988","label":"source_arts_13892909"},"arts_13892850":{"type":"posts","id":"arts_13892850","meta":{"index":"posts_1591205157","site":"arts","id":"13892850","score":null,"sort":[1613593011000]},"guestAuthors":[],"slug":"its-a-sin-series-set-during-aids-epidemic-resonates-during-covid-19","title":"'It's a Sin' Series, Set During AIDS Epidemic, Resonates During COVID-19","publishDate":1613593011,"format":"standard","headTitle":"‘It’s a Sin’ Series, Set During AIDS Epidemic, Resonates During COVID-19 | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Pop culture has a genius for transforming painful history into enjoyable entertainment. It can turn Nazi POW camps into the sitcom \u003cem>Hogan’s Heroes\u003c/em>. It can spin the murder of Israeli athletes into the thriller \u003cem>Munich\u003c/em>. It can use the 1921 race massacre in Tulsa to kickstart the superhero saga \u003cem>Watchmen\u003c/em>.\u003c/p>\n\u003cp>The emergence of AIDS provides the impetus for \u003cem>It’s a Sin\u003c/em>, a hit British series about five young people who share a London apartment over the years from 1981 to ’91. The show is the semi-autobiographical brainchild of Russell T. Davies, a writer best known for creating \u003cem>Queer as Folk\u003c/em> and resurrecting \u003cem>Doctor Who\u003c/em>. With his gimlet eye for the pop jugular, Davies turns the story of that deadly pandemic into a soapy drama that, like many dance songs from that era, is equal parts bounciness and woe. [aside postid='arts_13858699']\u003c/p>\n\u003cp>The series begins with the coming together of five gay—or gay friendly—characters. There’s cocky, self-involved Ritchie (played by pop star Olly Alexander) who wants to be an actor. There’s campy Roscoe, who’s been booted from his home by his Nigerian Christian family and hooks up with a Conservative MP (Stephen Fry). There’s sturdy Ash Mukherjee, an attractive teacher, and the touchingly naive Colin, a young Welshman who works for a Savile Row tailor. Holding the house all together is Jill (Lydia West), another aspiring actor based on Davies’ real-life best friend.\u003c/p>\n\u003cp>By day, the five try to make their careers. By night, they party—laughing and dancing and shagging like sex is going out of style. Ritchie, the group’s showman, gives blithe speeches mocking rumors of a disease that attacks gay people. “How do I know it’s not true?” he asks. “Because I’m not stupid.” But he \u003cem>is\u003c/em> wrong. The first real inkling comes from Colin’s gay mentor at the tailor shop, played by \u003ca href=\"https://www.npr.org/2014/10/13/354997298/whats-it-like-to-be-neil-patrick-harris-he-gives-you-options\" target=\"_blank\" rel=\"noopener noreferrer\">Neil Patrick Harris\u003c/a>, when his longtime boyfriend is put in the hospital.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hnR5DxP2e2g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Davies’ shows have always known how to grab you, but even his admirers would never fault him for subtlety. Not overly concerned with getting things absolutely right, he largely ignores the lives of middle-aged gays and lesbians; he makes the gay clubs sleeker and less grungy than they actually were. If you want a deep and nuanced portrait of HIV hitting London during the Thatcher Era, you’ll do far better reading \u003ca href=\"https://www.npr.org/2018/03/13/593216611/author-alan-hollinghurst-on-secret-affairs-narrative-gaps-and-writing-gay-sex\" target=\"_blank\" rel=\"noopener noreferrer\">Alan Hollinghurst\u003c/a>‘s novel \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5337693\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Line of Beauty\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The show’s aim is to make us feel both sides of gay life in those years. He celebrates its hedonistic freedom and sheer fun—the show’s fueled by songs from \u003ca href=\"https://www.npr.org/artists/512831993/blondie\" target=\"_blank\" rel=\"noopener noreferrer\">Blondie\u003c/a>, Erasure, and the \u003ca href=\"https://www.npr.org/artists/15827120/pet-shop-boys\" target=\"_blank\" rel=\"noopener noreferrer\">Pet Shop Boys\u003c/a>, one of whose anthems gives this series its title.\u003c/p>\n\u003cp>But he also wants us to feel the tragedy. And we do. The show is unexpectedly moving, especially Colin’s thread. Characters we like die miserable deaths, and those who don’t struggle against both a profound sense of loss \u003cem>and\u003c/em> a society that seemingly doesn’t care. Everyone is deepened, even the narcissistic Ritchie. [aside postid='arts_13881934']\u003c/p>\n\u003cp>\u003cem>It’s a Sin\u003c/em> is far from perfect. Davies originally wrote the show to be eight episodes but could only get funding for five, so the action feels rushed. More space might have let him give his female characters more dimension. While West makes a wonderful Jill, her character is so busy being saintly she has no inner complexity or even sexuality. At the other end, Ritchie’s mum—ferociously played by Keeley Hawes—displays such villainous rigidity that the role verges on misogyny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet for all that, \u003cem>It’s a Sin\u003c/em> resonates emotionally—especially during the pandemic. As with COVID-19, AIDS had its deniers and its conspiracy theorists. It had government heads who didn’t take it seriously and scads of ordinary people who, feeling unthreatened themselves, believed the victims were dispensable. And just like COVID-19, AIDS led to hundreds of thousands of people dying largely out of sight and often alone, cut off from those who knew them best and loved them most. Watching this series, you may think that the \u003cem>real\u003c/em> sin is how we turn viruses into moral and political battles.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27It%27s+A+Sin%27+Series%2C+Set+During+AIDS+Epidemic%2C+Resonates+During+COVID-19&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"As with COVID, AIDS had deniers and conspiracy theorists. HBO's new five-part series depicts its emergence in 1980s London.","status":"publish","parent":0,"modified":1705019464,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":760},"headData":{"title":"'It's a Sin' Series, Set During AIDS Epidemic, Resonates During COVID-19 | KQED","description":"As with COVID, AIDS had deniers and conspiracy theorists. HBO's new five-part series depicts its emergence in 1980s London.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'It's a Sin' Series, Set During AIDS Epidemic, Resonates During COVID-19","datePublished":"2021-02-17T20:16:51.000Z","dateModified":"2024-01-12T00:31:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Ben Blackall","nprByline":"John Powers","nprImageAgency":"HBO Max","nprStoryId":"968365774","nprApiLink":"http://api.npr.org/query?id=968365774&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2021/02/17/968365774/its-a-sin-series-set-during-aids-epidemic-resonates-during-covid-19?ft=nprml&f=968365774","nprRetrievedStory":"1","nprPubDate":"Wed, 17 Feb 2021 13:45:00 -0500","nprStoryDate":"Wed, 17 Feb 2021 11:10:55 -0500","nprLastModifiedDate":"Wed, 17 Feb 2021 11:11:26 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/02/20210217_fa_02.mp3?orgId=427869011&topicId=1138&d=407&p=13&story=968365774&ft=nprml&f=968365774","nprAudioM3u":"http://api.npr.org/m3u/1968702429-a9bd4c.m3u?orgId=427869011&topicId=1138&d=407&p=13&story=968365774&ft=nprml&f=968365774","templateType":"standard","featuredImageType":"standard","path":"/arts/13892850/its-a-sin-series-set-during-aids-epidemic-resonates-during-covid-19","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/02/20210217_fa_02.mp3?orgId=427869011&topicId=1138&d=407&p=13&story=968365774&ft=nprml&f=968365774","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pop culture has a genius for transforming painful history into enjoyable entertainment. It can turn Nazi POW camps into the sitcom \u003cem>Hogan’s Heroes\u003c/em>. It can spin the murder of Israeli athletes into the thriller \u003cem>Munich\u003c/em>. It can use the 1921 race massacre in Tulsa to kickstart the superhero saga \u003cem>Watchmen\u003c/em>.\u003c/p>\n\u003cp>The emergence of AIDS provides the impetus for \u003cem>It’s a Sin\u003c/em>, a hit British series about five young people who share a London apartment over the years from 1981 to ’91. The show is the semi-autobiographical brainchild of Russell T. Davies, a writer best known for creating \u003cem>Queer as Folk\u003c/em> and resurrecting \u003cem>Doctor Who\u003c/em>. With his gimlet eye for the pop jugular, Davies turns the story of that deadly pandemic into a soapy drama that, like many dance songs from that era, is equal parts bounciness and woe. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13858699","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The series begins with the coming together of five gay—or gay friendly—characters. There’s cocky, self-involved Ritchie (played by pop star Olly Alexander) who wants to be an actor. There’s campy Roscoe, who’s been booted from his home by his Nigerian Christian family and hooks up with a Conservative MP (Stephen Fry). There’s sturdy Ash Mukherjee, an attractive teacher, and the touchingly naive Colin, a young Welshman who works for a Savile Row tailor. Holding the house all together is Jill (Lydia West), another aspiring actor based on Davies’ real-life best friend.\u003c/p>\n\u003cp>By day, the five try to make their careers. By night, they party—laughing and dancing and shagging like sex is going out of style. Ritchie, the group’s showman, gives blithe speeches mocking rumors of a disease that attacks gay people. “How do I know it’s not true?” he asks. “Because I’m not stupid.” But he \u003cem>is\u003c/em> wrong. The first real inkling comes from Colin’s gay mentor at the tailor shop, played by \u003ca href=\"https://www.npr.org/2014/10/13/354997298/whats-it-like-to-be-neil-patrick-harris-he-gives-you-options\" target=\"_blank\" rel=\"noopener noreferrer\">Neil Patrick Harris\u003c/a>, when his longtime boyfriend is put in the hospital.\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/hnR5DxP2e2g'\n title='//www.youtube.com/embed/hnR5DxP2e2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>Davies’ shows have always known how to grab you, but even his admirers would never fault him for subtlety. Not overly concerned with getting things absolutely right, he largely ignores the lives of middle-aged gays and lesbians; he makes the gay clubs sleeker and less grungy than they actually were. If you want a deep and nuanced portrait of HIV hitting London during the Thatcher Era, you’ll do far better reading \u003ca href=\"https://www.npr.org/2018/03/13/593216611/author-alan-hollinghurst-on-secret-affairs-narrative-gaps-and-writing-gay-sex\" target=\"_blank\" rel=\"noopener noreferrer\">Alan Hollinghurst\u003c/a>‘s novel \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5337693\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Line of Beauty\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The show’s aim is to make us feel both sides of gay life in those years. He celebrates its hedonistic freedom and sheer fun—the show’s fueled by songs from \u003ca href=\"https://www.npr.org/artists/512831993/blondie\" target=\"_blank\" rel=\"noopener noreferrer\">Blondie\u003c/a>, Erasure, and the \u003ca href=\"https://www.npr.org/artists/15827120/pet-shop-boys\" target=\"_blank\" rel=\"noopener noreferrer\">Pet Shop Boys\u003c/a>, one of whose anthems gives this series its title.\u003c/p>\n\u003cp>But he also wants us to feel the tragedy. And we do. The show is unexpectedly moving, especially Colin’s thread. Characters we like die miserable deaths, and those who don’t struggle against both a profound sense of loss \u003cem>and\u003c/em> a society that seemingly doesn’t care. Everyone is deepened, even the narcissistic Ritchie. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13881934","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>It’s a Sin\u003c/em> is far from perfect. Davies originally wrote the show to be eight episodes but could only get funding for five, so the action feels rushed. More space might have let him give his female characters more dimension. While West makes a wonderful Jill, her character is so busy being saintly she has no inner complexity or even sexuality. At the other end, Ritchie’s mum—ferociously played by Keeley Hawes—displays such villainous rigidity that the role verges on misogyny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet for all that, \u003cem>It’s a Sin\u003c/em> resonates emotionally—especially during the pandemic. As with COVID-19, AIDS had its deniers and its conspiracy theorists. It had government heads who didn’t take it seriously and scads of ordinary people who, feeling unthreatened themselves, believed the victims were dispensable. And just like COVID-19, AIDS led to hundreds of thousands of people dying largely out of sight and often alone, cut off from those who knew them best and loved them most. Watching this series, you may think that the \u003cem>real\u003c/em> sin is how we turn viruses into moral and political battles.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27It%27s+A+Sin%27+Series%2C+Set+During+AIDS+Epidemic%2C+Resonates+During+COVID-19&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13892850/its-a-sin-series-set-during-aids-epidemic-resonates-during-covid-19","authors":["byline_arts_13892850"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_2449","arts_8350","arts_5237","arts_10166"],"affiliates":["arts_137"],"featImg":"arts_13892851","label":"arts_137"},"arts_13889926":{"type":"posts","id":"arts_13889926","meta":{"index":"posts_1591205157","site":"arts","id":"13889926","score":null,"sort":[1607079631000]},"guestAuthors":[],"slug":"13889926","title":"Parallel Lives: Community Organizer and the First Openly Gay Black MLB Player","publishDate":1607079631,"format":"standard","headTitle":"Parallel Lives: Community Organizer and the First Openly Gay Black MLB Player | KQED","labelTerm":{},"content":"\u003cp>Vincent-Ray Williams III is the \u003ca href=\"https://www.oaklandlgbtqcenter.org/operationscoordinator\" target=\"_blank\" rel=\"noopener noreferrer\">Operations Coordinator\u003c/a> at Oakland’s LGBTQ Community Center. Through this position Vincent has a hand in developing the Center’s \u003ca href=\"https://www.oaklandlgbtqcenter.org/clinic\" target=\"_blank\" rel=\"noopener noreferrer\">Glenn Burke Wellness Clinic.\u003c/a>\u003c/p>\n\u003cp>The clinic, which is named after the Oakland A’s player who was discriminated against for being the first openly gay major league player, is set to open early next year. Vincent says the clinic will focus on HIV/ AIDS testing and prevention.\u003c/p>\n\u003cp>Vincent, who was born HIV positive, says dispelling negative notions of people living with the virus is the work he finds most purposeful.\u003c/p>\n\u003cfigure id=\"attachment_13889952\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889952\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/FB_IMG_1602995068227.jpg\" alt=\"Vincent-Ray Williams III cleaning up garbage in Oakland as a part of his community service.\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/FB_IMG_1602995068227.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/FB_IMG_1602995068227-160x213.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Vincent-Ray Williams III cleaning up garbage in Oakland as a part of his community service. \u003ccite>(Vincent-Ray Williams III)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On top of the work he does at the center, Vincent also \u003ca href=\"https://www.instagram.com/urbanparkcleanup/\" target=\"_blank\" rel=\"noopener noreferrer\">organizes community cleanups\u003c/a> in Oakland.\u003c/p>\n\u003cp>This week on Rightnowish, we discuss all of the work Vincent does and how his life story aligns with the man who invented the high five.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6116812430\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Vincent-Ray Williams III.\u003c/strong>\u003c/p>\n\u003cp>VINCENT: Ya know, I’m a pansexual man and I never really felt like I had a place where I fit in… My whole life I always had this view of the LGBTQ community that was negative, because I had a negative view of myself.\u003c/p>\n\u003cp>VINCENT: What ended up happening for me is I came here – the Oakland LGBTQ Center – for a support group. I was apprehensive to come here because other places that I’ve been, I didn’t feel like I belonged for a few different reasons… because it was predominantly white. I need to be able to walk in and see a Black or brown person because I’m Black and I’m Puerto Rican. But also, I’ve always been one of those kinds of people where if you haven’t been anywhere but you’re trying to advise me on how I should approach something then you’re misinforming me because tried and true solution come through people that have actually been through some shit, that have tried some shit, that I’ve found out what shit works.That’s how I feel about it. And that’s exactly what the Oakland LGBTQ Community Center is.\u003c/p>\n\u003cp>\u003cem>PEN: Why name it after Glenn Burke, who was Glenn Burke?\u003c/em>\u003c/p>\n\u003cp>VINCENT: Glenn Burke was a Black man in Major League Baseball, played for the A’s. The first out gay Black man in MLB. He created the high five. He found out he was HIV positive. They blackballed him. This is a Black man who had found the courage to be comfortable in his own skin and not care what anyone else thought about it while still remaining professional and inspiring so many other people. And what better than to name the clinic after an Oakland native who made so many sacrifices just to let people know that it was OK to be who they are than to name it after Glen Burke.\u003c/p>\n\u003cp>\u003cem>PEN: How does Glenn Burke’s story impact you personally?\u003c/em>\u003c/p>\n\u003cp>VINCENT: You know part of Glenn Burke’s story was that without a job he found himself on the streets of San Francisco in the Castro selling himself. I come from a long path of substance abuse and drug addiction, you know. And at one point I found myself in a position where I didn’t know what else to do to take care of myself than to sell myself on the street. I can definitely relate on an emotional level with his story and I’m obsessed with everything baseball. I played in high school and I played in college a little bit so that story hits close to home with me.\u003c/p>\n\u003cp>\u003cem>PEN: So many parallels. At what point did you find out that you were HIV positive?\u003c/em>\u003c/p>\n\u003cp>VINCENT: I was 13 years old, I was in a group home — probably like my 80th group home I had ever been at this point — and I remember that a social worker sat me down and she said, ‘hey, we need to talk to you.’ And I said, ‘yeah what’s up?’ And she said, ‘your biological father, he passed away.’ And I’m like, ‘oh, no worries. I don’t care. Whatever. I never met him.’ She said, ‘well, we want to let you know that he died of HIV or AIDS.’ I was like, ‘oh, that sucks.’ And she was like, ‘yeah well, we also need to tell you, because you’re old enough to understand that all those medications that you take, they’re also for HIV.’\u003c/p>\n\u003cp>VINCENT: You know that broke my heart. I didn’t know. I just knew that I had to take these medications every day. It was explained to me that I had been born with HIV. Finding out about it at 13 was really a turning point for me emotionally, because I didn’t know that it wasn’t a death sentence. I knew the stigma behind it. I was like, oh, man, if you got HIV or AIDS, you gonna die. You gonna give it to people. You’re never going to be happy. Nobody’s ever going to love you. And so I found myself in a darker hole…And it’s been a process, I mean, change happens over years and sometimes, you know, [laughs] a whole lifetime, but it’s definitely been a process.\u003c/p>\n\u003cp>\u003cem>PEN: Man, much respect to that, I definitely know that change isn’t a light switch. So, yeah, I fully understand.\u003c/em>\u003c/p>\n\u003cp>\u003cem>PEN: How would you advise other people to do away with that stigma? How do you, yeah how do you even approach someone who stereotypes people living with HIV and AIDS?\u003c/em>\u003c/p>\n\u003cp>VINCENT: … It’s about education. I’ve had occasion where people would ask me, hey, Vince, do I need to get some more forks and spoons specifically for you? So when you come here, you can eat. I can look at that negatively and I can be like, oh, they’re trying to put me in a box. But see, that’s where you get a kind of foot in to start educating. Well, hey, you know what? Like, that’s not how transmission works.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Community Centers. \r\nCommunity cleanups. \r\nAnd Vincent Williams III's commitment to community empowerment. ","status":"publish","parent":0,"modified":1705019769,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1154},"headData":{"title":"Parallel Lives: Community Organizer and the First Openly Gay Black MLB Player | KQED","description":"Community Centers. \r\nCommunity cleanups. \r\nAnd Vincent Williams III's commitment to community empowerment. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Parallel Lives: Community Organizer and the First Openly Gay Black MLB Player","datePublished":"2020-12-04T11:00:31.000Z","dateModified":"2024-01-12T00:36:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Rightnowish","sourceUrl":"https://www.kqed.org/podcasts/rightnowish","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC6116812430.mp3?updated=1607037903","sticky":false,"path":"/arts/13889926/13889926","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Vincent-Ray Williams III is the \u003ca href=\"https://www.oaklandlgbtqcenter.org/operationscoordinator\" target=\"_blank\" rel=\"noopener noreferrer\">Operations Coordinator\u003c/a> at Oakland’s LGBTQ Community Center. Through this position Vincent has a hand in developing the Center’s \u003ca href=\"https://www.oaklandlgbtqcenter.org/clinic\" target=\"_blank\" rel=\"noopener noreferrer\">Glenn Burke Wellness Clinic.\u003c/a>\u003c/p>\n\u003cp>The clinic, which is named after the Oakland A’s player who was discriminated against for being the first openly gay major league player, is set to open early next year. Vincent says the clinic will focus on HIV/ AIDS testing and prevention.\u003c/p>\n\u003cp>Vincent, who was born HIV positive, says dispelling negative notions of people living with the virus is the work he finds most purposeful.\u003c/p>\n\u003cfigure id=\"attachment_13889952\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889952\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/FB_IMG_1602995068227.jpg\" alt=\"Vincent-Ray Williams III cleaning up garbage in Oakland as a part of his community service.\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/FB_IMG_1602995068227.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/FB_IMG_1602995068227-160x213.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Vincent-Ray Williams III cleaning up garbage in Oakland as a part of his community service. \u003ccite>(Vincent-Ray Williams III)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On top of the work he does at the center, Vincent also \u003ca href=\"https://www.instagram.com/urbanparkcleanup/\" target=\"_blank\" rel=\"noopener noreferrer\">organizes community cleanups\u003c/a> in Oakland.\u003c/p>\n\u003cp>This week on Rightnowish, we discuss all of the work Vincent does and how his life story aligns with the man who invented the high five.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6116812430\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Vincent-Ray Williams III.\u003c/strong>\u003c/p>\n\u003cp>VINCENT: Ya know, I’m a pansexual man and I never really felt like I had a place where I fit in… My whole life I always had this view of the LGBTQ community that was negative, because I had a negative view of myself.\u003c/p>\n\u003cp>VINCENT: What ended up happening for me is I came here – the Oakland LGBTQ Center – for a support group. I was apprehensive to come here because other places that I’ve been, I didn’t feel like I belonged for a few different reasons… because it was predominantly white. I need to be able to walk in and see a Black or brown person because I’m Black and I’m Puerto Rican. But also, I’ve always been one of those kinds of people where if you haven’t been anywhere but you’re trying to advise me on how I should approach something then you’re misinforming me because tried and true solution come through people that have actually been through some shit, that have tried some shit, that I’ve found out what shit works.That’s how I feel about it. And that’s exactly what the Oakland LGBTQ Community Center is.\u003c/p>\n\u003cp>\u003cem>PEN: Why name it after Glenn Burke, who was Glenn Burke?\u003c/em>\u003c/p>\n\u003cp>VINCENT: Glenn Burke was a Black man in Major League Baseball, played for the A’s. The first out gay Black man in MLB. He created the high five. He found out he was HIV positive. They blackballed him. This is a Black man who had found the courage to be comfortable in his own skin and not care what anyone else thought about it while still remaining professional and inspiring so many other people. And what better than to name the clinic after an Oakland native who made so many sacrifices just to let people know that it was OK to be who they are than to name it after Glen Burke.\u003c/p>\n\u003cp>\u003cem>PEN: How does Glenn Burke’s story impact you personally?\u003c/em>\u003c/p>\n\u003cp>VINCENT: You know part of Glenn Burke’s story was that without a job he found himself on the streets of San Francisco in the Castro selling himself. I come from a long path of substance abuse and drug addiction, you know. And at one point I found myself in a position where I didn’t know what else to do to take care of myself than to sell myself on the street. I can definitely relate on an emotional level with his story and I’m obsessed with everything baseball. I played in high school and I played in college a little bit so that story hits close to home with me.\u003c/p>\n\u003cp>\u003cem>PEN: So many parallels. At what point did you find out that you were HIV positive?\u003c/em>\u003c/p>\n\u003cp>VINCENT: I was 13 years old, I was in a group home — probably like my 80th group home I had ever been at this point — and I remember that a social worker sat me down and she said, ‘hey, we need to talk to you.’ And I said, ‘yeah what’s up?’ And she said, ‘your biological father, he passed away.’ And I’m like, ‘oh, no worries. I don’t care. Whatever. I never met him.’ She said, ‘well, we want to let you know that he died of HIV or AIDS.’ I was like, ‘oh, that sucks.’ And she was like, ‘yeah well, we also need to tell you, because you’re old enough to understand that all those medications that you take, they’re also for HIV.’\u003c/p>\n\u003cp>VINCENT: You know that broke my heart. I didn’t know. I just knew that I had to take these medications every day. It was explained to me that I had been born with HIV. Finding out about it at 13 was really a turning point for me emotionally, because I didn’t know that it wasn’t a death sentence. I knew the stigma behind it. I was like, oh, man, if you got HIV or AIDS, you gonna die. You gonna give it to people. You’re never going to be happy. Nobody’s ever going to love you. And so I found myself in a darker hole…And it’s been a process, I mean, change happens over years and sometimes, you know, [laughs] a whole lifetime, but it’s definitely been a process.\u003c/p>\n\u003cp>\u003cem>PEN: Man, much respect to that, I definitely know that change isn’t a light switch. So, yeah, I fully understand.\u003c/em>\u003c/p>\n\u003cp>\u003cem>PEN: How would you advise other people to do away with that stigma? How do you, yeah how do you even approach someone who stereotypes people living with HIV and AIDS?\u003c/em>\u003c/p>\n\u003cp>VINCENT: … It’s about education. I’ve had occasion where people would ask me, hey, Vince, do I need to get some more forks and spoons specifically for you? So when you come here, you can eat. I can look at that negatively and I can be like, oh, they’re trying to put me in a box. But see, that’s where you get a kind of foot in to start educating. Well, hey, you know what? Like, that’s not how transmission works.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13889926/13889926","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_835","arts_21759"],"tags":["arts_2449","arts_1118","arts_3226","arts_1143","arts_6764"],"featImg":"arts_13889951","label":"source_arts_13889926"},"arts_13883032":{"type":"posts","id":"arts_13883032","meta":{"index":"posts_1591205157","site":"arts","id":"13883032","score":null,"sort":[1594236785000]},"guestAuthors":[],"slug":"27-years-later-nine-artists-consider-kiki-gallery-within-its-same-walls","title":"27 Years Later, Nine Artists Consider Kiki Gallery—Within its Same Walls","publishDate":1594236785,"format":"standard","headTitle":"27 Years Later, Nine Artists Consider Kiki Gallery—Within its Same Walls | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When Sophie Appel and Cole Solinger opened San Francisco’s \u003ca href=\"https://www.instagram.com/delaplanesf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Delaplane\u003c/a> gallery at 483 14th Street, they were unaware the narrow storefront was already a landmark of local art history. Theirs was a new enterprise, exhibiting young and emerging artists, many of them alums of the San Francisco Art Institute. But in the weeks and months that followed their October 2019 inaugural show, Appel and Solinger heard more and more stories from those who’d frequented the same spot in the early ’90s. They learned that Delaplane shared the address, a quarter-century removed, with a space called Kiki Gallery.\u003c/p>\n\u003cp>Despite a short existence, or perhaps because of it, Kiki is the stuff of legend. Founded in 1993 by artist and activist Rick Jacobsen, the gallery was only open for 18 months. During that time, Kiki hosted over 150 artists and performers, among them future international names and beloved Bay Area artists: Lutz Bacher, Nao Bustamante, Jerome Caja, Frances Stark, Chris Johanson, Nayland Blake, Catherine Opie, Rex Ray and \u003ca href=\"https://www.kqed.org/arts/13859939/remembering-kevin-killian-poet-playwright-and-artist-who-gave-us-courage\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Killian\u003c/a>. Arts writer Glen Helfand \u003ca href=\"https://static1.squarespace.com/static/573520facf80a15b05a67492/t/573c1a2ac6fc087da45a5ed2/1463556651523/Helfand+Art+AIDS+America+1st+text.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">remembers the space\u003c/a> as “somewhere between commercial gallery and clubhouse,” a reflection of “Jacobson’s wit, showmanship, and endearing cynicism.”\u003c/p>\n\u003cfigure id=\"attachment_13883067\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg\" alt=\"\" width=\"640\" height=\"927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640-160x232.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Delaplane, Colter Jacobson’s flag residency (left) and Lukaza Branfman-Verissimo, ‘Untitled.’ \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gallery came from Jacobsen’s desire to gather an arts community on his own, rather on behalf of an organization. Faced with his own AIDS diagnosis, he quit his job at a nonprofit and put all his money into the project. “If I couldn’t do anything firsthand about AIDS, I could be at least a motivating force in art—perhaps the next best thing,” he said in a \u003ca href=\"https://www.stretcher.org/features/kiki_exhibitions_bits/\" target=\"_blank\" rel=\"noopener noreferrer\">1994 interview\u003c/a>.\u003c/p>\n\u003cp>The city at the time was devastated by both the epidemic and an economic downturn, but Jacobsen created something vibrant, irreverent and (paradoxically) lasting. The titles of his shows speak volumes: the scatological \u003ci>Caca @ Kiki\u003c/i>; the gallows humor of \u003ci>Sick Joke: Bitterness, Sarcasm, and Irony in the Second AIDS Decade\u003c/i>; and the self-referential artiness of \u003ci>Piece: Nine Artists Consider Yoko Ono\u003c/i>, the gallery’s final exhibition in February 1995. Jacobsen died of AIDS-related lymphoma in 1997.\u003c/p>\n\u003cp>Decades later, in a very different San Francisco, the punny, carefully assembled \u003ci>Peace: Nine Artists Consider Kiki Gallery\u003c/i> honors the site-specific history of 483 14th Street, gathering artists with a direct relationship to Kiki alongside a younger generation now considering its legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show begins outside, where Lukaza Branfman-Verissimo’s window installation speaks directly to Kiki: “27 years / both born in 1993 / celebrating you / who / knew we would / be here in this / way / making a sa / fe space / for the bay / qu / eers.” With this overarching sentiment, \u003ci>Peace\u003c/i> becomes a passing of torches—not just from one group of artists to another, but back and forth, between members of a multigenerational community.\u003c/p>\n\u003cp>For those without firsthand experience of Kiki’s heyday, a booklet put together by Wayne Smith includes ephemera and pictures of individual artworks, installations and performances. (Smith encourages viewers to visit the James C. Hormel LGBTQIA Center at the San Francisco Public Library for more of the gallery’s \u003ca href=\"https://sfpl.bibliocommons.com/item/show/2108471093\" target=\"_blank\" rel=\"noopener noreferrer\">ephemera\u003c/a>.) Additional archival material comes in Delaplane’s back room, where a vitrine displays the spread-out contents of \u003ci>Kikibox\u003c/i>, a 1994 kit of editioned objects by gallery-affiliated artists.\u003c/p>\n\u003cfigure id=\"attachment_13883063\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Kikibox.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Kikibox,’ 1994. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is not the first time an exhibition has been organized in memory of Kiki Gallery—Ratio 3 hosted \u003ci>\u003ca href=\"https://www.ratio3.org/exhibitions/kiki-the-proof-is-in-the-pudding/installation\" target=\"_blank\" rel=\"noopener noreferrer\">The Proof is in the Pudding\u003c/a>\u003c/i>, curated by Colter Jacobsen and Kevin Killian, in 2008. But it is the first time the honoring has happened on-site, and the shape of the space lends \u003ci>Peace\u003c/i> a special resonance.\u003c/p>\n\u003cp>The younger artists in the show respond as much to Kiki as they do the similar conditions of both galleries’ temporal surroundings: a pandemic, widespread unemployment, experiences of injustice, isolation and despair. In Kennedy Morgan’s very vertical panting (an homage to a Jim Winters screen print) \u003ci>After the Parakeet Attack\u003c/i>, a scratched and bleeding green hand draws back a curtain to reveal what looks to be a solid, impassable surface.\u003c/p>\n\u003cp>rel robinson (who has written for KQED Arts) contributes a textile piece dotted with some of the most indelible images of the last four months: the \u003ca href=\"https://www.nytimes.com/2020/03/14/technology/coronavirus-purell-wipes-amazon-sellers.html\" target=\"_blank\" rel=\"noopener noreferrer\">sanitizer stockpile\u003c/a>; the \u003ca href=\"https://www.dispatch.com/news/20200413/gop-lawmakers-protesters-call-on-dewine-to-begin-re-opening-ohio\" target=\"_blank\" rel=\"noopener noreferrer\">Ohio zombies\u003c/a>; \u003ca href=\"https://www.instagram.com/p/B9w3JvYjQ5S/\" target=\"_blank\" rel=\"noopener noreferrer\">penguins\u003c/a> freed from their aquarium bounds. The application of digital images onto tangible, domestic materials conjures a vision of a feed scrolled while propped up in bed—a new world experienced through one’s screen.\u003c/p>\n\u003cfigure id=\"attachment_13883062\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_install_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Peace’: Kennedy Morgan, ‘After the Parakeet Attack (left); Ocean Escalante, ‘Hole in the Wall,’ 2020 (right); D-L Alvarez, ‘Scar,’ 2020 (above). \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite plenty of reasons for despair, some of the artists in \u003ci>Peace\u003c/i> do find—well, \u003ci>peace\u003c/i>. In Ocean Escalanti’s small acrylic painting \u003ci>Hole in the Wall\u003c/i>, lush greenery and peeping eyes surround a vignette of two heads close together, a perfect depiction of the safe space described by Branfman-Verissimo’s installation. And back outside, Delaplane’s “flag residency” hoists a charming banner by Colter Jacobsen that resembles a giant, almost empty roll of polka-dotted toilet paper. (\u003ci>Caca @ Kiki\u003c/i>, indeed.)\u003c/p>\n\u003cp>Representing the original members of the Kiki scene, D-L Alvarez, Cliff Hengst, Scott Hewicker and Jennifer Locke present works that reference both then and now. Alvarez’s delicate graphite-on-paper works, collectively titled \u003ci>Peanut\u003c/i>, carry weight without explaining themselves, personal scraps of memory and influence that sit comfortably above Smith’s booklet, itself a Kiki scrapbook.\u003c/p>\n\u003cp>Next on the wall, Hengst’s untitled painting, reading “IT IS HER,” references a voicemail Yoko Ono herself left at the gallery, on the occasion of Kiki’s final show. The slight pink tinge at the upper right corner of the canvas is a nice echo of Alvarez’s other contribution to \u003ci>Peace\u003c/i>, a dotted line of plaster and pigment that traces the shape of Kiki’s former loft at the back of the main gallery.\u003c/p>\n\u003cfigure id=\"attachment_13883166\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Locke_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13883166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Jennifer Locke, ‘Séance for R.J. (Candle, Rubber, Levitation, Blood),’ 2020. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a narrow hallway between the front and back spaces, a video by Locke fits snugly into an odd little corner, playing a short loop of repeated rituals—a seance for Jacobsen, but also an evocation of life under shelter in place. (\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Locke_1200.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">A scene\u003c/a> of a condom rolled over a dildo is nicely matched by Hewicker’s sex toy still life.)\u003c/p>\n\u003cp>The exhibition’s parting elements come from Sahar Khoury, in a stacked floor sculpture of boxes and a mixed media textile piece made out of an SFMOMA tote bag. “I like everything about you but you,” the modified canvas bag reads, a fitting comment on the museum’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" target=\"_blank\" rel=\"noopener noreferrer\">recent inability\u003c/a> to take a stance on racial justice.\u003c/p>\n\u003cp>There’s nothing monumental in \u003ci>Peace\u003c/i>. Most of the work is small-scale, provisional, made with materials that don’t fit many definitions of “high art.” And yet in these artworks, the principles for which Kiki stood, the ideas that compelled Jacobsen to open its doors in the first place, persist. \u003ci>Peace\u003c/i> underscores the importance of making art in difficult times—as a way of documenting, but also transcending. 483 14th Street is once again a space for the exchange of artistic ideas; in this case, a conversation that spans at least one participant’s entire lifetime. And until we can gather for events that might live up to Kiki’s legendary status, those exchanges will happen one viewer at a time, in half-hour increments.\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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Peace: Nine Artists Consider Kiki Gallery’ is on view though July 25 at Delaplane (483 14th Street, San Francisco). Open by appointment, \u003ca href=\"https://calendly.com/delaplane\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"A group show at Delaplane honors a legendary gallery once located in the same storefront. ","status":"publish","parent":0,"modified":1705020461,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1354},"headData":{"title":"27 Years Later, Nine Artists Consider Kiki Gallery—Within its Same Walls | KQED","description":"A group show at Delaplane honors a legendary gallery once located in the same storefront. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"27 Years Later, Nine Artists Consider Kiki Gallery—Within its Same Walls","datePublished":"2020-07-08T19:33:05.000Z","dateModified":"2024-01-12T00:47:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13883032/27-years-later-nine-artists-consider-kiki-gallery-within-its-same-walls","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Sophie Appel and Cole Solinger opened San Francisco’s \u003ca href=\"https://www.instagram.com/delaplanesf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Delaplane\u003c/a> gallery at 483 14th Street, they were unaware the narrow storefront was already a landmark of local art history. Theirs was a new enterprise, exhibiting young and emerging artists, many of them alums of the San Francisco Art Institute. But in the weeks and months that followed their October 2019 inaugural show, Appel and Solinger heard more and more stories from those who’d frequented the same spot in the early ’90s. They learned that Delaplane shared the address, a quarter-century removed, with a space called Kiki Gallery.\u003c/p>\n\u003cp>Despite a short existence, or perhaps because of it, Kiki is the stuff of legend. Founded in 1993 by artist and activist Rick Jacobsen, the gallery was only open for 18 months. During that time, Kiki hosted over 150 artists and performers, among them future international names and beloved Bay Area artists: Lutz Bacher, Nao Bustamante, Jerome Caja, Frances Stark, Chris Johanson, Nayland Blake, Catherine Opie, Rex Ray and \u003ca href=\"https://www.kqed.org/arts/13859939/remembering-kevin-killian-poet-playwright-and-artist-who-gave-us-courage\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Killian\u003c/a>. Arts writer Glen Helfand \u003ca href=\"https://static1.squarespace.com/static/573520facf80a15b05a67492/t/573c1a2ac6fc087da45a5ed2/1463556651523/Helfand+Art+AIDS+America+1st+text.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">remembers the space\u003c/a> as “somewhere between commercial gallery and clubhouse,” a reflection of “Jacobson’s wit, showmanship, and endearing cynicism.”\u003c/p>\n\u003cfigure id=\"attachment_13883067\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg\" alt=\"\" width=\"640\" height=\"927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640-160x232.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Delaplane, Colter Jacobson’s flag residency (left) and Lukaza Branfman-Verissimo, ‘Untitled.’ \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gallery came from Jacobsen’s desire to gather an arts community on his own, rather on behalf of an organization. Faced with his own AIDS diagnosis, he quit his job at a nonprofit and put all his money into the project. “If I couldn’t do anything firsthand about AIDS, I could be at least a motivating force in art—perhaps the next best thing,” he said in a \u003ca href=\"https://www.stretcher.org/features/kiki_exhibitions_bits/\" target=\"_blank\" rel=\"noopener noreferrer\">1994 interview\u003c/a>.\u003c/p>\n\u003cp>The city at the time was devastated by both the epidemic and an economic downturn, but Jacobsen created something vibrant, irreverent and (paradoxically) lasting. The titles of his shows speak volumes: the scatological \u003ci>Caca @ Kiki\u003c/i>; the gallows humor of \u003ci>Sick Joke: Bitterness, Sarcasm, and Irony in the Second AIDS Decade\u003c/i>; and the self-referential artiness of \u003ci>Piece: Nine Artists Consider Yoko Ono\u003c/i>, the gallery’s final exhibition in February 1995. Jacobsen died of AIDS-related lymphoma in 1997.\u003c/p>\n\u003cp>Decades later, in a very different San Francisco, the punny, carefully assembled \u003ci>Peace: Nine Artists Consider Kiki Gallery\u003c/i> honors the site-specific history of 483 14th Street, gathering artists with a direct relationship to Kiki alongside a younger generation now considering its legacy.\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 show begins outside, where Lukaza Branfman-Verissimo’s window installation speaks directly to Kiki: “27 years / both born in 1993 / celebrating you / who / knew we would / be here in this / way / making a sa / fe space / for the bay / qu / eers.” With this overarching sentiment, \u003ci>Peace\u003c/i> becomes a passing of torches—not just from one group of artists to another, but back and forth, between members of a multigenerational community.\u003c/p>\n\u003cp>For those without firsthand experience of Kiki’s heyday, a booklet put together by Wayne Smith includes ephemera and pictures of individual artworks, installations and performances. (Smith encourages viewers to visit the James C. Hormel LGBTQIA Center at the San Francisco Public Library for more of the gallery’s \u003ca href=\"https://sfpl.bibliocommons.com/item/show/2108471093\" target=\"_blank\" rel=\"noopener noreferrer\">ephemera\u003c/a>.) Additional archival material comes in Delaplane’s back room, where a vitrine displays the spread-out contents of \u003ci>Kikibox\u003c/i>, a 1994 kit of editioned objects by gallery-affiliated artists.\u003c/p>\n\u003cfigure id=\"attachment_13883063\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Kikibox.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Kikibox,’ 1994. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is not the first time an exhibition has been organized in memory of Kiki Gallery—Ratio 3 hosted \u003ci>\u003ca href=\"https://www.ratio3.org/exhibitions/kiki-the-proof-is-in-the-pudding/installation\" target=\"_blank\" rel=\"noopener noreferrer\">The Proof is in the Pudding\u003c/a>\u003c/i>, curated by Colter Jacobsen and Kevin Killian, in 2008. But it is the first time the honoring has happened on-site, and the shape of the space lends \u003ci>Peace\u003c/i> a special resonance.\u003c/p>\n\u003cp>The younger artists in the show respond as much to Kiki as they do the similar conditions of both galleries’ temporal surroundings: a pandemic, widespread unemployment, experiences of injustice, isolation and despair. In Kennedy Morgan’s very vertical panting (an homage to a Jim Winters screen print) \u003ci>After the Parakeet Attack\u003c/i>, a scratched and bleeding green hand draws back a curtain to reveal what looks to be a solid, impassable surface.\u003c/p>\n\u003cp>rel robinson (who has written for KQED Arts) contributes a textile piece dotted with some of the most indelible images of the last four months: the \u003ca href=\"https://www.nytimes.com/2020/03/14/technology/coronavirus-purell-wipes-amazon-sellers.html\" target=\"_blank\" rel=\"noopener noreferrer\">sanitizer stockpile\u003c/a>; the \u003ca href=\"https://www.dispatch.com/news/20200413/gop-lawmakers-protesters-call-on-dewine-to-begin-re-opening-ohio\" target=\"_blank\" rel=\"noopener noreferrer\">Ohio zombies\u003c/a>; \u003ca href=\"https://www.instagram.com/p/B9w3JvYjQ5S/\" target=\"_blank\" rel=\"noopener noreferrer\">penguins\u003c/a> freed from their aquarium bounds. The application of digital images onto tangible, domestic materials conjures a vision of a feed scrolled while propped up in bed—a new world experienced through one’s screen.\u003c/p>\n\u003cfigure id=\"attachment_13883062\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_install_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Peace’: Kennedy Morgan, ‘After the Parakeet Attack (left); Ocean Escalante, ‘Hole in the Wall,’ 2020 (right); D-L Alvarez, ‘Scar,’ 2020 (above). \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite plenty of reasons for despair, some of the artists in \u003ci>Peace\u003c/i> do find—well, \u003ci>peace\u003c/i>. In Ocean Escalanti’s small acrylic painting \u003ci>Hole in the Wall\u003c/i>, lush greenery and peeping eyes surround a vignette of two heads close together, a perfect depiction of the safe space described by Branfman-Verissimo’s installation. And back outside, Delaplane’s “flag residency” hoists a charming banner by Colter Jacobsen that resembles a giant, almost empty roll of polka-dotted toilet paper. (\u003ci>Caca @ Kiki\u003c/i>, indeed.)\u003c/p>\n\u003cp>Representing the original members of the Kiki scene, D-L Alvarez, Cliff Hengst, Scott Hewicker and Jennifer Locke present works that reference both then and now. Alvarez’s delicate graphite-on-paper works, collectively titled \u003ci>Peanut\u003c/i>, carry weight without explaining themselves, personal scraps of memory and influence that sit comfortably above Smith’s booklet, itself a Kiki scrapbook.\u003c/p>\n\u003cp>Next on the wall, Hengst’s untitled painting, reading “IT IS HER,” references a voicemail Yoko Ono herself left at the gallery, on the occasion of Kiki’s final show. The slight pink tinge at the upper right corner of the canvas is a nice echo of Alvarez’s other contribution to \u003ci>Peace\u003c/i>, a dotted line of plaster and pigment that traces the shape of Kiki’s former loft at the back of the main gallery.\u003c/p>\n\u003cfigure id=\"attachment_13883166\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Locke_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13883166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Jennifer Locke, ‘Séance for R.J. (Candle, Rubber, Levitation, Blood),’ 2020. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a narrow hallway between the front and back spaces, a video by Locke fits snugly into an odd little corner, playing a short loop of repeated rituals—a seance for Jacobsen, but also an evocation of life under shelter in place. (\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Locke_1200.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">A scene\u003c/a> of a condom rolled over a dildo is nicely matched by Hewicker’s sex toy still life.)\u003c/p>\n\u003cp>The exhibition’s parting elements come from Sahar Khoury, in a stacked floor sculpture of boxes and a mixed media textile piece made out of an SFMOMA tote bag. “I like everything about you but you,” the modified canvas bag reads, a fitting comment on the museum’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" target=\"_blank\" rel=\"noopener noreferrer\">recent inability\u003c/a> to take a stance on racial justice.\u003c/p>\n\u003cp>There’s nothing monumental in \u003ci>Peace\u003c/i>. Most of the work is small-scale, provisional, made with materials that don’t fit many definitions of “high art.” And yet in these artworks, the principles for which Kiki stood, the ideas that compelled Jacobsen to open its doors in the first place, persist. \u003ci>Peace\u003c/i> underscores the importance of making art in difficult times—as a way of documenting, but also transcending. 483 14th Street is once again a space for the exchange of artistic ideas; in this case, a conversation that spans at least one participant’s entire lifetime. And until we can gather for events that might live up to Kiki’s legendary status, those exchanges will happen one viewer at a time, in half-hour increments.\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>\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>‘Peace: Nine Artists Consider Kiki Gallery’ is on view though July 25 at Delaplane (483 14th Street, San Francisco). Open by appointment, \u003ca href=\"https://calendly.com/delaplane\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13883032/27-years-later-nine-artists-consider-kiki-gallery-within-its-same-walls","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_11615","arts_70"],"tags":["arts_2449","arts_10278","arts_1496","arts_1146","arts_3573","arts_585"],"featImg":"arts_13883061","label":"arts_140"},"arts_13881048":{"type":"posts","id":"arts_13881048","meta":{"index":"posts_1591205157","site":"arts","id":"13881048","score":null,"sort":[1590602082000]},"guestAuthors":[],"slug":"larry-kramer-playwright-and-aids-activist-dies-at-84","title":"Larry Kramer, Playwright and AIDS Activist, Dies at 84","publishDate":1590602082,"format":"standard","headTitle":"Larry Kramer, Playwright and AIDS Activist, Dies at 84 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Larry Kramer, the playwright whose angry voice and pen raised theatergoers’ consciousness about AIDS and roused thousands to militant protests in the early years of the epidemic, has died at 84.\u003c/p>\n\u003cp>Bill Goldstein, a writer who was working on a biography of Kramer, confirmed the news to The Associated Press. Kramer’s husband, David Webster, told \u003cem>The New York Times\u003c/em> that Kramer died Wednesday of pneumonia.\u003c/p>\n\u003cp>“We have lost a giant of a man who stood up for gay rights like a warrior. His anger was needed at a time when gay men’s deaths to AIDS were being ignored by the American government,” said Elton John in a statement.\u003c/p>\n\u003cp>Kramer, who wrote \u003cem>The Normal Heart\u003c/em> and founded the AIDS Coalition to Unleash Power, or ACT UP, lost his lover to acquired immune deficiency syndrome in 1984 and was himself infected with the virus. He also suffered from hepatitis B and received a liver transplant in 2001 because the virus had caused liver failure.\u003c/p>\n\u003cp>He was nominated for an Academy Award for his screenplay for \u003cem>Women in Love\u003c/em>, the 1969 adaptation of D.H. Lawrence’s novel. It starred Glenda Jackson, who won her first Oscar for her performance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He also wrote the 1972 screenplay \u003cem>Lost Horizon\u003c/em>, a novel, \u003cem>Faggots\u003c/em>, and the plays \u003cem>Sissies’ Scrapbook, The Furniture of Home, Just Say No\u003c/em> and \u003cem>The Destiny of Me\u003c/em>, which was a finalist for the Pulitzer Prize in 1993.\u003c/p>\n\u003cp>But for many years he was best known for his public fight to secure medical treatment, acceptance and civil rights for people with AIDS. He loudly told everyone that the gay community was grappling with a plague.\u003c/p>\n\u003cp>Tributes from the arts community flooded in Wednesday, with Lin-Manuel Miranda on Twitter saying “What an extraordinary writer, what a life.” Dan Savage wrote: “He ordered us to love ourselves and each other and to fight for our lives. He was a hero.”\u003c/p>\n\u003cp>In 1981, when AIDS had not yet acquired its name and only a few dozen people had been diagnosed with it, Kramer and a group of his friends in New York City founded Gay Men’s Health Crisis, one of the first groups in the country to address the epidemic.\u003c/p>\n\u003cp>He tried to rouse the gay community with speeches and articles such as “1,112 and Counting,” published in gay newspapers in 1983.\u003c/p>\n\u003cp>“Our continued existence as gay men upon the face of this earth is at stake,” he wrote. “Unless we fight for our lives, we shall die.”\u003c/p>\n\u003cp>The late journalist Randy Shilts, in his best selling account of the AIDS epidemic \u003cem>And the Band Played On\u003c/em>, called that article “inarguably one of the most influential works of advocacy journalism of the decade” and credited it with “crystallizing the epidemic into a political movement for the gay community.”\u003c/p>\n\u003cp>Kramer lived to see gay marriage a reality — and married himself in 2013 — but never rested. “I’m married,” he told The AP. “But that’s only part of where we are. AIDS is still decimating us and we still don’t have protection under the law.”\u003c/p>\n\u003cp>Kramer split with GMHC in 1983 after other board members decided to concentrate on providing support services to people with AIDS. It remains one of the largest AIDS-service groups in the country.\u003c/p>\n\u003cp>After leaving GMHC, Kramer wrote \u003cem>The Normal Heart\u003c/em>, in which a furious young writer — not unlike Kramer himself — battles politicians, society, the media and other gay leaders to bring attention to the crisis.\u003c/p>\n\u003cp>The play premiered at The Public Theater in April 1985. Associated Press drama critic Michael Kuchwara called it an “angry but compelling indictment of a society as well as a subculture for failing to respond adequately to the tragedy.”\u003c/p>\n\u003cp>A revival in 2011 was almost universally praised by critics and earned the best revival Tony. Two actors from it — Ellen Barkin and John Benjamin Hickey — also won Tonys. Joe Mantello played the main character of Ned Weeks, the alter ego of Kramer.\u003c/p>\n\u003cp>“I’m very moved that it moved so many people,” he said at the time. Kramer often stood outside the theater passing out fliers asking the world to take action against HIV/AIDS. “Please know that AIDS is a worldwide plague. Please know there is no cure,” it said.\u003c/p>\n\u003cp>The play was turned into a TV film for HBO in 2014 starring Mark Ruffalo, Jonathan Groff, Matt Bomer, Taylor Kitsch, Jim Parsons, Alfred Molina, Joe Mantello and Julia Roberts. It won the Emmy for best movie. Kramer stood onstage in heavy winter clothing as the statuette was presented to director Ryan Murphy.\u003c/p>\n\u003cp>The 1992 play \u003cem>The Destiny of Me\u003c/em> continues the story of Weeks from \u003cem>The Normal Heart\u003c/em>. Weeks, in the hospital for an experimental AIDS treatment, reflects on the past, particularly his relationship with his family. His parents and brother appear to act out what happened in the past, as does the young Ned, who confronts his older self.\u003c/p>\n\u003cp>In 1987, Kramer founded ACT UP, the group that became famous for staging civil disobedience at places like the Food and Drug Administration, the New York Stock Exchange and Burroughs-Wellcome Corp., the maker of the chief anti-AIDS drug, AZT.\u003c/p>\n\u003cp>ACT UP’s protests helped persuade the FDA to speed the approval of new drugs and Burroughs-Wellcome to lower its price for AZT. He also battled — and later reconciled — with Dr. Anthony Fauci, the longtime director of the National Institute of Allergy and Infectious Diseases, who has been leading the national response to the coronavirus pandemic.\u003c/p>\n\u003cp>Kramer soon relinquished a leadership role in ACT UP, and as support for AIDS research increased, he found some common ground with health officials whom ACT UP had bitterly criticized.\u003c/p>\n\u003cp>Kramer never softened the urgency of his demands. In 2011, he helped the American Foundation for Equal Rights mount their play \u003cem>8\u003c/em> on Broadway about the legal battle over same-sex marriage in California.\u003c/p>\n\u003cp>“The one nice thing that I seem to have acquired, accidentally, is this reputation of everyone afraid of my voice,” he told The AP in 2015. “So I get heard, whether it changes anything or not.”\u003c/p>\n\u003cp>One of his last projects was the massive two-volume \u003cem>The American People\u003c/em>, which chronicled the history of gay people in America and took decades to write.\u003c/p>\n\u003cp>“I just think it’s so important that we know our history — the history of how badly we’re treated and how hard we have to fight to get what we deserve, which is equality,” he told The AP.\u003c/p>\n\u003cp>At the 2013 Tonys, he was honored with the Isabelle Stevenson Award, given to a member of the theater community for philanthropic or civic efforts.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A few months later, Kramer married his longtime partner, architect David Webster, in the intensive care unit of NYU Langone Medical Center, where Kramer was recovering from surgery for a bowel obstruction.\u003c/p>\n\n","blocks":[],"excerpt":"The playwright, whose work raised consciousness about the AIDS epidemic, has died at 84.","status":"publish","parent":0,"modified":1705020668,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1201},"headData":{"title":"Larry Kramer, Playwright and AIDS Activist, Dies at 84 | KQED","description":"The playwright, whose work raised consciousness about the AIDS epidemic, has died at 84.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Larry Kramer, Playwright and AIDS Activist, Dies at 84","datePublished":"2020-05-27T17:54:42.000Z","dateModified":"2024-01-12T00:51:08.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Mark Kennedy, Associated Press","templateType":"standard","featuredImageType":"standard","path":"/arts/13881048/larry-kramer-playwright-and-aids-activist-dies-at-84","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Larry Kramer, the playwright whose angry voice and pen raised theatergoers’ consciousness about AIDS and roused thousands to militant protests in the early years of the epidemic, has died at 84.\u003c/p>\n\u003cp>Bill Goldstein, a writer who was working on a biography of Kramer, confirmed the news to The Associated Press. Kramer’s husband, David Webster, told \u003cem>The New York Times\u003c/em> that Kramer died Wednesday of pneumonia.\u003c/p>\n\u003cp>“We have lost a giant of a man who stood up for gay rights like a warrior. His anger was needed at a time when gay men’s deaths to AIDS were being ignored by the American government,” said Elton John in a statement.\u003c/p>\n\u003cp>Kramer, who wrote \u003cem>The Normal Heart\u003c/em> and founded the AIDS Coalition to Unleash Power, or ACT UP, lost his lover to acquired immune deficiency syndrome in 1984 and was himself infected with the virus. He also suffered from hepatitis B and received a liver transplant in 2001 because the virus had caused liver failure.\u003c/p>\n\u003cp>He was nominated for an Academy Award for his screenplay for \u003cem>Women in Love\u003c/em>, the 1969 adaptation of D.H. Lawrence’s novel. It starred Glenda Jackson, who won her first Oscar for her performance.\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>He also wrote the 1972 screenplay \u003cem>Lost Horizon\u003c/em>, a novel, \u003cem>Faggots\u003c/em>, and the plays \u003cem>Sissies’ Scrapbook, The Furniture of Home, Just Say No\u003c/em> and \u003cem>The Destiny of Me\u003c/em>, which was a finalist for the Pulitzer Prize in 1993.\u003c/p>\n\u003cp>But for many years he was best known for his public fight to secure medical treatment, acceptance and civil rights for people with AIDS. He loudly told everyone that the gay community was grappling with a plague.\u003c/p>\n\u003cp>Tributes from the arts community flooded in Wednesday, with Lin-Manuel Miranda on Twitter saying “What an extraordinary writer, what a life.” Dan Savage wrote: “He ordered us to love ourselves and each other and to fight for our lives. He was a hero.”\u003c/p>\n\u003cp>In 1981, when AIDS had not yet acquired its name and only a few dozen people had been diagnosed with it, Kramer and a group of his friends in New York City founded Gay Men’s Health Crisis, one of the first groups in the country to address the epidemic.\u003c/p>\n\u003cp>He tried to rouse the gay community with speeches and articles such as “1,112 and Counting,” published in gay newspapers in 1983.\u003c/p>\n\u003cp>“Our continued existence as gay men upon the face of this earth is at stake,” he wrote. “Unless we fight for our lives, we shall die.”\u003c/p>\n\u003cp>The late journalist Randy Shilts, in his best selling account of the AIDS epidemic \u003cem>And the Band Played On\u003c/em>, called that article “inarguably one of the most influential works of advocacy journalism of the decade” and credited it with “crystallizing the epidemic into a political movement for the gay community.”\u003c/p>\n\u003cp>Kramer lived to see gay marriage a reality — and married himself in 2013 — but never rested. “I’m married,” he told The AP. “But that’s only part of where we are. AIDS is still decimating us and we still don’t have protection under the law.”\u003c/p>\n\u003cp>Kramer split with GMHC in 1983 after other board members decided to concentrate on providing support services to people with AIDS. It remains one of the largest AIDS-service groups in the country.\u003c/p>\n\u003cp>After leaving GMHC, Kramer wrote \u003cem>The Normal Heart\u003c/em>, in which a furious young writer — not unlike Kramer himself — battles politicians, society, the media and other gay leaders to bring attention to the crisis.\u003c/p>\n\u003cp>The play premiered at The Public Theater in April 1985. Associated Press drama critic Michael Kuchwara called it an “angry but compelling indictment of a society as well as a subculture for failing to respond adequately to the tragedy.”\u003c/p>\n\u003cp>A revival in 2011 was almost universally praised by critics and earned the best revival Tony. Two actors from it — Ellen Barkin and John Benjamin Hickey — also won Tonys. Joe Mantello played the main character of Ned Weeks, the alter ego of Kramer.\u003c/p>\n\u003cp>“I’m very moved that it moved so many people,” he said at the time. Kramer often stood outside the theater passing out fliers asking the world to take action against HIV/AIDS. “Please know that AIDS is a worldwide plague. Please know there is no cure,” it said.\u003c/p>\n\u003cp>The play was turned into a TV film for HBO in 2014 starring Mark Ruffalo, Jonathan Groff, Matt Bomer, Taylor Kitsch, Jim Parsons, Alfred Molina, Joe Mantello and Julia Roberts. It won the Emmy for best movie. Kramer stood onstage in heavy winter clothing as the statuette was presented to director Ryan Murphy.\u003c/p>\n\u003cp>The 1992 play \u003cem>The Destiny of Me\u003c/em> continues the story of Weeks from \u003cem>The Normal Heart\u003c/em>. Weeks, in the hospital for an experimental AIDS treatment, reflects on the past, particularly his relationship with his family. His parents and brother appear to act out what happened in the past, as does the young Ned, who confronts his older self.\u003c/p>\n\u003cp>In 1987, Kramer founded ACT UP, the group that became famous for staging civil disobedience at places like the Food and Drug Administration, the New York Stock Exchange and Burroughs-Wellcome Corp., the maker of the chief anti-AIDS drug, AZT.\u003c/p>\n\u003cp>ACT UP’s protests helped persuade the FDA to speed the approval of new drugs and Burroughs-Wellcome to lower its price for AZT. He also battled — and later reconciled — with Dr. Anthony Fauci, the longtime director of the National Institute of Allergy and Infectious Diseases, who has been leading the national response to the coronavirus pandemic.\u003c/p>\n\u003cp>Kramer soon relinquished a leadership role in ACT UP, and as support for AIDS research increased, he found some common ground with health officials whom ACT UP had bitterly criticized.\u003c/p>\n\u003cp>Kramer never softened the urgency of his demands. In 2011, he helped the American Foundation for Equal Rights mount their play \u003cem>8\u003c/em> on Broadway about the legal battle over same-sex marriage in California.\u003c/p>\n\u003cp>“The one nice thing that I seem to have acquired, accidentally, is this reputation of everyone afraid of my voice,” he told The AP in 2015. “So I get heard, whether it changes anything or not.”\u003c/p>\n\u003cp>One of his last projects was the massive two-volume \u003cem>The American People\u003c/em>, which chronicled the history of gay people in America and took decades to write.\u003c/p>\n\u003cp>“I just think it’s so important that we know our history — the history of how badly we’re treated and how hard we have to fight to get what we deserve, which is equality,” he told The AP.\u003c/p>\n\u003cp>At the 2013 Tonys, he was honored with the Isabelle Stevenson Award, given to a member of the theater community for philanthropic or civic efforts.\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>A few months later, Kramer married his longtime partner, architect David Webster, in the intensive care unit of NYU Langone Medical Center, where Kramer was recovering from surgery for a bowel obstruction.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13881048/larry-kramer-playwright-and-aids-activist-dies-at-84","authors":["byline_arts_13881048"],"categories":["arts_1","arts_73","arts_835","arts_7862","arts_74","arts_235","arts_1564","arts_967","arts_990"],"tags":["arts_2449","arts_1072"],"featImg":"arts_13881050","label":"arts"},"arts_13856873":{"type":"posts","id":"arts_13856873","meta":{"index":"posts_1591205157","site":"arts","id":"13856873","score":null,"sort":[1557439229000]},"guestAuthors":[],"slug":"without-within-the-very-moment-sfac-gallery","title":"'With(out) With(in) the Very Moment' Honors Legacies of AIDS Activism Through Art","publishDate":1557439229,"format":"standard","headTitle":"‘With(out) With(in) the Very Moment’ Honors Legacies of AIDS Activism Through Art | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In the back corner of the San Francisco Arts Commission Gallery, a small stack of Cliff Hengst’s \u003ci>Untitled (Signs)\u003c/i> series lean against the wall. As a humble pile of acrylic paintings on wood, each panel obscures the text of the one behind it, and each bears an all-caps quote from James Comey’s book \u003ci>A Higher Loyalty: Truth, Lies, and Leadership\u003c/i>.\u003c/p>\n\u003cp>The words of the powerful, the display seems to say, often amount to very little. And it’s ordinary citizens—artists, activists and the historically disenfranchised—who must advocate for themselves and their communities when no one else will.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/without-within-very-moment\" rel=\"noopener\" target=\"_blank\">With(out) With(in) the very moment\u003c/a>\u003c/i>, curated by San Francisco artist Margaret Tedesco, presents work by eight artists who witnessed moments when queer culture and activism were inseparable—and builds an argument for how those moments influenced their practices. With a focus on the legacies of HIV/AIDS activism of the 1980s and ’90s, \u003ci>With(out)\u003c/i> borrows its title in part from the annual \u003ca href=\"https://visualaids.org/projects/day-without-art\" rel=\"noopener\" target=\"_blank\">Day With(out) Art\u003c/a> on Dec. 1, an event organized by the nonprofit Visual AIDS which calls for arts organizations to unite in a day of mourning and action, acknowledging an ongoing crisis.\u003c/p>\n\u003cfigure id=\"attachment_13856886\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/ed-aulerich-sugai_powerstor_mask_1200.jpg\" alt=\"Ed Aulerich-Sugai, 'Pwer in Storage: Mast #3,' 1989.\" width=\"1200\" height=\"1192\" class=\"size-full wp-image-13856886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ed-aulerich-sugai_powerstor_mask_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ed-aulerich-sugai_powerstor_mask_1200-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ed-aulerich-sugai_powerstor_mask_1200-800x795.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ed-aulerich-sugai_powerstor_mask_1200-768x763.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ed-aulerich-sugai_powerstor_mask_1200-1020x1013.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ed Aulerich-Sugai, ‘Pwer in Storage: Mast #3,’ 1989. \u003ccite>(Courtesy of the Ed Aulerich-Sugai Collection and Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beating heart of the SFAC show is a group of works on paper by Ed Aulerich-Sugai, who died in 1994 of AIDS-related complications. During the last seven years of his life, Aulerich-Sugai was immensely productive, and just a small fraction of his output is on view. The most moving piece on view is \u003ci>He Cries, She Cries: Homage to Our Sisters\u003c/i>, a large-scale horizontal full of anguished and discombobulated faces, a work that pays respect to the lesbian women who assumed the roles of caregivers during the HIV/AIDS epidemic. Hanging alongside it are delicate renderings of Japanese imagery (helmets, masks, gloves, ghosts and demons), which Aulerich-Sugai summoned as symbols of power and protection.\u003c/p>\n\u003cp>Aulerich-Sugai’s pairing of strong subject matter with fragile materials reflects the precarity of life during those years, a tactic picked up in later years by other artists in the exhibition. Hengst’s other contributions to the show, for example, are all works on paper, one of which cascades down from the ceiling to spread, like the waterfall it depicts, onto the gallery floor. Even a set of paintings on wood by Adam J. Ansell—messy full-body portraits of individuals—have the scaled-up dimensions of trading cards, imbuing the lively brushwork with a hint of ephemerality. \u003c/p>\n\u003cfigure id=\"attachment_13856883\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within_1200.jpg\" alt=\"Installation view of 'With(out) With(in) the very moment,' with Cliff Hengst's 'Your Consciousness Goes Bip' at center.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13856883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within_1200-1020x681.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘With(out) With(in) the very moment,’ with Cliff Hengst’s ‘Your Consciousness Goes Bip’ at center. \u003ccite>(Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another through-line in \u003ci>With(out)\u003c/i> comes from the reuse or repurposing of materials. Creating new narratives and symbols out of found images, cut maps or mylar window tint—as Elliott Anderson, Mark M. Garrett and Mark Paron do—is life-affirming. These actions point a way forward, while still honoring the past. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the gallery’s back corner (near the Comey quotes), a vitrine filled with ephemera from both the Gay Liberation movement and HIV/AIDS activism further documents moments of collective action by the queer community—direct, creative and undeniably necessary. Among the treasures on display are an ACT UP pamphlet, “a journal of gay liberation” called \u003ci>Gay Sunshine\u003c/i>, a Keith Haring pin, exhibition catalogs from group shows at SFAI’s Walter McBean Galleries and Harvey Milk’s Castro Camera calling card. Activism and art are clearly entwined, and the aesthetic qualities of the materials are in service of the causes they urgently promote.\u003c/p>\n\u003cfigure id=\"attachment_13856885\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within-31_1200.jpg\" alt=\"Installation view of ephemera.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13856885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within-31_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within-31_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within-31_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within-31_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within-31_1200-1020x681.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ephemera. \u003ccite>(Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Near the gallery’s entrance, Nancer LeMoins’ work picks up the mantle of direct engagement with a series of silkscreen portraits of homeless women on the worn-smooth soles of shoes. In an accompanying binder, the portraits are paired with quotes from each woman. “My heart hurts when you look at me like I’m nothing,” one reads. “If only you could see me the way I see myself,” says another. \u003c/p>\n\u003cp>In wall text, we learn that LeMoins herself is HIV positive; in 1986 this discovery forever shifted the trajectory of her art practice, and led her to begin teaching art classes to others struggling to live with HIV/AIDS. LeMoins’ work is all from the past five years, and yet it has a timeless quality to it that speaks to the city’s ongoing inability to house its most vulnerable citizens.\u003c/p>\n\u003cp>What \u003ci>With(out)\u003c/i> most poignantly achieves is a reminder that for those who live through times of great loss and personal tragedy, to make, as Tedesco’s opening note says, “bold work and quiet elegy” is not necessarily a choice but a way of viewing art as inextricably entwined with the struggle to lead a meaningful life. \u003c/p>\n\u003cp>It’s a sentiment writer Anton Stuebner echoes in \u003ci>\u003ca href=\"https://www.sfartscommission.org/sites/default/files/pdf/Steubner_2nd%20floor%20projects_edition%202019.pdf\" rel=\"noopener\" target=\"_blank\">You Are Not Alone\u003c/a>\u003c/i>, a limited edition publication displayed alongside the show’s selection of visual artwork (a bit of required reading for your post-viewing experience): “It’s my responsibility—and yours—to honor those we’ve lost by feeling joy and rage and loneliness. It is our responsibility to carve out livable lives for ourselves.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘With(out) With(in) the very moment’ is on view at the San Francisco Arts Commission Gallery in the War Memorial Veterans Building through June 22. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/without-within-very-moment\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n","blocks":[],"excerpt":"A group exhibition at the SFAC Gallery remembers moments when queer culture and activism were inseparable, and hopes for a similar future.","status":"publish","parent":0,"modified":1705026225,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":968},"headData":{"title":"'With(out) With(in) the Very Moment' Honors Legacies of AIDS Activism Through Art | KQED","description":"A group exhibition at the SFAC Gallery remembers moments when queer culture and activism were inseparable, and hopes for a similar future.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'With(out) With(in) the Very Moment' Honors Legacies of AIDS Activism Through Art","datePublished":"2019-05-09T22:00:29.000Z","dateModified":"2024-01-12T02:23:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13856873/without-within-the-very-moment-sfac-gallery","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the back corner of the San Francisco Arts Commission Gallery, a small stack of Cliff Hengst’s \u003ci>Untitled (Signs)\u003c/i> series lean against the wall. As a humble pile of acrylic paintings on wood, each panel obscures the text of the one behind it, and each bears an all-caps quote from James Comey’s book \u003ci>A Higher Loyalty: Truth, Lies, and Leadership\u003c/i>.\u003c/p>\n\u003cp>The words of the powerful, the display seems to say, often amount to very little. And it’s ordinary citizens—artists, activists and the historically disenfranchised—who must advocate for themselves and their communities when no one else will.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/without-within-very-moment\" rel=\"noopener\" target=\"_blank\">With(out) With(in) the very moment\u003c/a>\u003c/i>, curated by San Francisco artist Margaret Tedesco, presents work by eight artists who witnessed moments when queer culture and activism were inseparable—and builds an argument for how those moments influenced their practices. With a focus on the legacies of HIV/AIDS activism of the 1980s and ’90s, \u003ci>With(out)\u003c/i> borrows its title in part from the annual \u003ca href=\"https://visualaids.org/projects/day-without-art\" rel=\"noopener\" target=\"_blank\">Day With(out) Art\u003c/a> on Dec. 1, an event organized by the nonprofit Visual AIDS which calls for arts organizations to unite in a day of mourning and action, acknowledging an ongoing crisis.\u003c/p>\n\u003cfigure id=\"attachment_13856886\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/ed-aulerich-sugai_powerstor_mask_1200.jpg\" alt=\"Ed Aulerich-Sugai, 'Pwer in Storage: Mast #3,' 1989.\" width=\"1200\" height=\"1192\" class=\"size-full wp-image-13856886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ed-aulerich-sugai_powerstor_mask_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ed-aulerich-sugai_powerstor_mask_1200-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ed-aulerich-sugai_powerstor_mask_1200-800x795.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ed-aulerich-sugai_powerstor_mask_1200-768x763.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ed-aulerich-sugai_powerstor_mask_1200-1020x1013.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ed Aulerich-Sugai, ‘Pwer in Storage: Mast #3,’ 1989. \u003ccite>(Courtesy of the Ed Aulerich-Sugai Collection and Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beating heart of the SFAC show is a group of works on paper by Ed Aulerich-Sugai, who died in 1994 of AIDS-related complications. During the last seven years of his life, Aulerich-Sugai was immensely productive, and just a small fraction of his output is on view. The most moving piece on view is \u003ci>He Cries, She Cries: Homage to Our Sisters\u003c/i>, a large-scale horizontal full of anguished and discombobulated faces, a work that pays respect to the lesbian women who assumed the roles of caregivers during the HIV/AIDS epidemic. Hanging alongside it are delicate renderings of Japanese imagery (helmets, masks, gloves, ghosts and demons), which Aulerich-Sugai summoned as symbols of power and protection.\u003c/p>\n\u003cp>Aulerich-Sugai’s pairing of strong subject matter with fragile materials reflects the precarity of life during those years, a tactic picked up in later years by other artists in the exhibition. Hengst’s other contributions to the show, for example, are all works on paper, one of which cascades down from the ceiling to spread, like the waterfall it depicts, onto the gallery floor. Even a set of paintings on wood by Adam J. Ansell—messy full-body portraits of individuals—have the scaled-up dimensions of trading cards, imbuing the lively brushwork with a hint of ephemerality. \u003c/p>\n\u003cfigure id=\"attachment_13856883\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within_1200.jpg\" alt=\"Installation view of 'With(out) With(in) the very moment,' with Cliff Hengst's 'Your Consciousness Goes Bip' at center.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13856883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within_1200-1020x681.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘With(out) With(in) the very moment,’ with Cliff Hengst’s ‘Your Consciousness Goes Bip’ at center. \u003ccite>(Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another through-line in \u003ci>With(out)\u003c/i> comes from the reuse or repurposing of materials. Creating new narratives and symbols out of found images, cut maps or mylar window tint—as Elliott Anderson, Mark M. Garrett and Mark Paron do—is life-affirming. These actions point a way forward, while still honoring the past. \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>In the gallery’s back corner (near the Comey quotes), a vitrine filled with ephemera from both the Gay Liberation movement and HIV/AIDS activism further documents moments of collective action by the queer community—direct, creative and undeniably necessary. Among the treasures on display are an ACT UP pamphlet, “a journal of gay liberation” called \u003ci>Gay Sunshine\u003c/i>, a Keith Haring pin, exhibition catalogs from group shows at SFAI’s Walter McBean Galleries and Harvey Milk’s Castro Camera calling card. Activism and art are clearly entwined, and the aesthetic qualities of the materials are in service of the causes they urgently promote.\u003c/p>\n\u003cfigure id=\"attachment_13856885\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within-31_1200.jpg\" alt=\"Installation view of ephemera.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13856885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within-31_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within-31_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within-31_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within-31_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/2019_04-SFAC-Without-Within-31_1200-1020x681.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ephemera. \u003ccite>(Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Near the gallery’s entrance, Nancer LeMoins’ work picks up the mantle of direct engagement with a series of silkscreen portraits of homeless women on the worn-smooth soles of shoes. In an accompanying binder, the portraits are paired with quotes from each woman. “My heart hurts when you look at me like I’m nothing,” one reads. “If only you could see me the way I see myself,” says another. \u003c/p>\n\u003cp>In wall text, we learn that LeMoins herself is HIV positive; in 1986 this discovery forever shifted the trajectory of her art practice, and led her to begin teaching art classes to others struggling to live with HIV/AIDS. LeMoins’ work is all from the past five years, and yet it has a timeless quality to it that speaks to the city’s ongoing inability to house its most vulnerable citizens.\u003c/p>\n\u003cp>What \u003ci>With(out)\u003c/i> most poignantly achieves is a reminder that for those who live through times of great loss and personal tragedy, to make, as Tedesco’s opening note says, “bold work and quiet elegy” is not necessarily a choice but a way of viewing art as inextricably entwined with the struggle to lead a meaningful life. \u003c/p>\n\u003cp>It’s a sentiment writer Anton Stuebner echoes in \u003ci>\u003ca href=\"https://www.sfartscommission.org/sites/default/files/pdf/Steubner_2nd%20floor%20projects_edition%202019.pdf\" rel=\"noopener\" target=\"_blank\">You Are Not Alone\u003c/a>\u003c/i>, a limited edition publication displayed alongside the show’s selection of visual artwork (a bit of required reading for your post-viewing experience): “It’s my responsibility—and yours—to honor those we’ve lost by feeling joy and rage and loneliness. It is our responsibility to carve out livable lives for ourselves.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘With(out) With(in) the very moment’ is on view at the San Francisco Arts Commission Gallery in the War Memorial Veterans Building through June 22. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/without-within-very-moment\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13856873/without-within-the-very-moment-sfac-gallery","authors":["61"],"categories":["arts_70"],"tags":["arts_2449","arts_1118","arts_3226","arts_596","arts_769","arts_1879"],"featImg":"arts_13856884","label":"arts"},"arts_13825213":{"type":"posts","id":"arts_13825213","meta":{"index":"posts_1591205157","site":"arts","id":"13825213","score":null,"sort":[1519769879000]},"guestAuthors":[],"slug":"filmmaker-leo-herrera-imagines-an-alternate-world-without-aids","title":"Filmmaker Leo Herrera Imagines an Alternate World Without AIDS","publishDate":1519769879,"format":"video","headTitle":"Filmmaker Leo Herrera Imagines an Alternate World Without AIDS | KQED","labelTerm":{"term":3500,"site":"arts"},"content":"\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>LGBT history is full of brilliance and beauty. But it’s also marked by tragedy, the darkest being the AIDS epidemic, which claimed 18,500 San Franciscans in the last quarter of the 20th century. What if AIDS had never happened? What if our queer heroes had lived? Who would we be?\u003c/p>\n\u003cp>\u003ca href=\"http://www.homochic.com/\">Leo Herrera\u003c/a>, a Mexican-American activist and filmmaker, in collaboration with other queer artists and the GLBT Historical Museum, imagines that parallel universe with \u003ca href=\"https://www.iftheylived.org/\">The Fathers Project\u003c/a>, a “sci-fi documentary” that he likens to a mix of \u003cem>Cruising\u003c/em>, \u003cem>Black Mirror\u003c/em>, and Beyoncé’s \u003cem>Lemonade\u003c/em>. (If that description doesn’t get your pulse racing, see a doctor.)\u003c/p>\n\u003cp>[contextly_sidebar id=”7zLlV9OcDknobTsLxvmGyRpeHozQqzJh”]\u003c/p>\n\u003cp>Herrera’s interest in LGBT history began at a young age. After his family left Ascensión, Mexico for Phoenix, Arizona, he quickly found that his new home wasn’t an easy place to be a gay immigrant. Herrera found solace in gay bookstores, where he tore through queer biographies and became enamored with the 1970s Gay Liberation movement. Eventually he and his gay brother moved to San Francisco’s Mission district, where they found their own tribe of brown people, queers, drag queens, and others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We were just like, ‘I can’t believe we get to live this life!'” Herrera says. “We knew how much sacrifice our family made to come over here, so me and my brother were going to enjoy the shit out of it and work really hard.” It wasn’t long before Herrera and his brother began filming within their new community.\u003c/p>\n\u003cp>Herrera’s latest piece quilts together glimpses of a queer utopia populated by real people at Pride in San Francisco, as well as Provincetown and Fire Island. Drawing on the queer biographies he discovered shortly after coming to the U.S., Herrera also re-creates an alternate world where the work of notable artists and activists hadn’t been stopped short by AIDS.\u003c/p>\n\u003cp>Overall, Herrera hopes that the final product serves as an antidote to fear.\u003c/p>\n\u003cp>“The world we live in was shaped by [AIDS], but we’re still okay,” he says. “We’re going to be good.” \u003cem>—Emmanuel Hapsis\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Follow the Fathers Project \u003ca href=\"https://www.iftheylived.org/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Mexican filmmaker Leo Herrera imagines a world without AIDS in a \"sci-fi documentary\" that's a mix of 'Cruising,' 'Black Mirror,' and Beyoncé's 'Lemonade.'","status":"publish","parent":0,"modified":1705028399,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":445},"headData":{"title":"Filmmaker Leo Herrera Imagines an Alternate World Without AIDS | KQED","description":"Mexican filmmaker Leo Herrera imagines a world without AIDS in a "sci-fi documentary" that's a mix of 'Cruising,' 'Black Mirror,' and Beyoncé's 'Lemonade.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Filmmaker Leo Herrera Imagines an Alternate World Without AIDS","datePublished":"2018-02-27T22:17:59.000Z","dateModified":"2024-01-12T02:59:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://vimeo.com/254955811","pbsMediaId":"3018259720","sticky":false,"excludeFromSiteSearch":"Include","path":"/arts/13825213/filmmaker-leo-herrera-imagines-an-alternate-world-without-aids","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>LGBT history is full of brilliance and beauty. But it’s also marked by tragedy, the darkest being the AIDS epidemic, which claimed 18,500 San Franciscans in the last quarter of the 20th century. What if AIDS had never happened? What if our queer heroes had lived? Who would we be?\u003c/p>\n\u003cp>\u003ca href=\"http://www.homochic.com/\">Leo Herrera\u003c/a>, a Mexican-American activist and filmmaker, in collaboration with other queer artists and the GLBT Historical Museum, imagines that parallel universe with \u003ca href=\"https://www.iftheylived.org/\">The Fathers Project\u003c/a>, a “sci-fi documentary” that he likens to a mix of \u003cem>Cruising\u003c/em>, \u003cem>Black Mirror\u003c/em>, and Beyoncé’s \u003cem>Lemonade\u003c/em>. (If that description doesn’t get your pulse racing, see a doctor.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Herrera’s interest in LGBT history began at a young age. After his family left Ascensión, Mexico for Phoenix, Arizona, he quickly found that his new home wasn’t an easy place to be a gay immigrant. Herrera found solace in gay bookstores, where he tore through queer biographies and became enamored with the 1970s Gay Liberation movement. Eventually he and his gay brother moved to San Francisco’s Mission district, where they found their own tribe of brown people, queers, drag queens, and others.\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 were just like, ‘I can’t believe we get to live this life!'” Herrera says. “We knew how much sacrifice our family made to come over here, so me and my brother were going to enjoy the shit out of it and work really hard.” It wasn’t long before Herrera and his brother began filming within their new community.\u003c/p>\n\u003cp>Herrera’s latest piece quilts together glimpses of a queer utopia populated by real people at Pride in San Francisco, as well as Provincetown and Fire Island. Drawing on the queer biographies he discovered shortly after coming to the U.S., Herrera also re-creates an alternate world where the work of notable artists and activists hadn’t been stopped short by AIDS.\u003c/p>\n\u003cp>Overall, Herrera hopes that the final product serves as an antidote to fear.\u003c/p>\n\u003cp>“The world we live in was shaped by [AIDS], but we’re still okay,” he says. “We’re going to be good.” \u003cem>—Emmanuel Hapsis\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Follow the Fathers Project \u003ca href=\"https://www.iftheylived.org/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13825213/filmmaker-leo-herrera-imagines-an-alternate-world-without-aids","authors":["11241"],"series":["arts_3500"],"categories":["arts_835","arts_74"],"tags":["arts_2449","arts_2771","arts_1118","arts_977","arts_4205","arts_3226","arts_1257","arts_596","arts_4204","arts_1007"],"featImg":"arts_13844964","label":"arts_3500"},"arts_13808467":{"type":"posts","id":"arts_13808467","meta":{"index":"posts_1591205157","site":"arts","id":"13808467","score":null,"sort":[1505401203000]},"guestAuthors":[],"slug":"race-sex-and-repression-on-the-airwaves","title":"Race, Sex and Repression on the Airwaves","publishDate":1505401203,"format":"standard","headTitle":"Race, Sex and Repression on the Airwaves | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In 2003, home for the summer after my first year at college, I worked at a day camp run by the City of Albany. I’m aware that today’s Bay Area kids attend astrophysics day camp and pole-vaulting day camp and second-wave feminist day camp, but in Albany in 2003 we had what was called the Friendship Club. We went bowling at Albany Bowl. We took field trips to Scandia to play Skee-Ball, and to the Jelly Belly factory, and sometimes just over to Codornices Park in Berkeley to go down the big cement slide on pieces of cardboard. We had Cheez-Its and Capri Suns. It was simple and pure and great.\u003c/p>\n\u003cp>One of my regular tasks on these field trips was to drive the City of Albany van. I’d make sure everybody’s seatbelt was fastened, put the key in the ignition, and turn up the volume on the only radio station we were allowed to listen to: Radio Disney, a family-friendly station aimed at the under-14 set. What this meant, in practical terms, is that I spent the summer of 2003 inadvertently learning the lyrics to “clean” versions of every pop and R&B single that had charted over the previous decade. Usually the girl campers wanted to ride with me, so often I had a van full of girls ages 6 through 12 belting out absolutely ludicrous, neutered mutilations of pop songs whose entire original point was to be overtly sexual.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LKEu8jIQ0Pw\u003c/p>\n\u003cp>I had these Disney Radio edits on the brain this week as I read Ann Powers’ excellent book, \u003ca href=\"http://www.npr.org/2017/08/17/542468737/in-good-booty-our-hot-and-heavy-love-affair-with-pop-music\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Good Booty: Love and Sex, Black and White, Body and Soul In American Music\u003c/em>\u003c/a>. It’s an impressively thorough look at how American popular music, sex, and race have intertwined over the past two centuries — or, rather, how our history of complicated and repressive attitudes toward sex and the painful history of racism in this country have been and continue to be audible in pretty much every pop song on the radio.\u003c/p>\n\u003cp>It’s an ambitious topic, one that would feel unwieldy in the hands of a less skilled writer, but it helps that Powers a) is one of our greatest living cultural critics, and b) doesn’t promise an exhaustive record. What she does offer is an impressively cohesive narrative, considering the book’s breadth: the reader is carried from New Orleans to New York to Memphis to Chicago to Detroit to San Francisco, from the early 1800s through the present, following the ways music and dance have always, in Powers’ estimation, served as the place in which Americans are most honest about the power of sexuality.\u003c/p>\n\u003cfigure id=\"attachment_13808472\" class=\"wp-caption alignright\" style=\"max-width: 513px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808472\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AnnPowers.1.jpg\" alt=\"Ann Powers.\" width=\"513\" height=\"766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AnnPowers.1.jpg 513w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AnnPowers.1-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AnnPowers.1-240x358.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AnnPowers.1-375x560.jpg 375w\" sizes=\"(max-width: 513px) 100vw, 513px\">\u003cfigcaption class=\"wp-caption-text\">Ann Powers. \u003ccite>(Lucent Vignette Photography/HarperCollins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s the shimmy; there’s twerking; there’s unspoken eroticism in gospel. Musicians and performers themselves aren’t discussed as human beings so much as they are conduits, time capsules, tangible artifacts of The Way We Lived and how we thought about sex, gender, race, religion and politics at a given time. There’s Little Richard, Elvis, and Prince; the holy counterculture trinity of Jim, Jimi, and Janis. Beyoncé’s “Formation” gets its rightful due as a landmark work of complicated art about black Southern womanhood; it’s no coincidence that Powers kicks off the book with a chapter presenting New Orleans as the historical soul of popular music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Miley Cyrus’ twerking phase and her bodysuit-clad VMA sexual rebellion, it might be noted, appear just as academically, cast as the logical result of centuries of thoroughly American — which is to say thoroughly mixed — messages about sex and race.\u003c/p>\n\u003cp>“Historically, music has become this vessel for hidden realities and for expressions of pride and dignity for the most wrongly oppressed in our culture and society,” Powers recently \u003ca href=\"http://www.rollingstone.com/culture/lists/good-booty-10-things-we-learned-about-sex-and-music-w498892\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>Rolling Stone\u003c/em>\u003c/a>. “That’s how, tragically, we treat eroticism as well. We marginalize it, we try to repress it, we pretend it doesn’t exist and we treat it like an evil force. Music has been the place where people who had been treated in that same way can speak.”\u003c/p>\n\u003cp>Despite the book’s chronological breadth, the section of \u003cem>Good Booty\u003c/em> I found myself returning to concerned recent history, an event I lived through but was too young to understand: the AIDS crisis. In painful stories, Powers describes how, following a period of sexual liberation, and of disco and community built inside gay clubs, the music birthed during and after the AIDS epidemic’s peak naturally reflected a substantial shift, casting sex as something to be feared. I’ve always known, of course, that AIDS irrevocably leveled scenes and families and subcultures, and that many — especially here in San Francisco — really never bounced back.\u003c/p>\n\u003cfigure id=\"attachment_13808475\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808475\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-800x533.jpg\" alt=\"Beyonce and Nicki Minaj perform onstage at the Barclays Center in Brooklyn, 2015. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyonce and Nicki Minaj perform onstage at the Barclays Center in Brooklyn, 2015. \u003ccite>(Jamie McCarthy/Getty Images for TIDAL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I hadn’t understood was just how clearly the pop culture I grew up on in the ’90s and early 2000s was still shaped by these aftershocks. Between the AIDS crisis and Reagan-era conservatism, it’s no surprise that the generation who came up during the grunge era understood sex from a young age to be dangerous: \u003ca href=\"http://uproxx.com/music/ann-powers-good-booty-book-sex-american-music/\" target=\"_blank\" rel=\"noopener noreferrer\">something that could kill you\u003c/a>. There was Nine Inch Nails’ “Closer,” which ties sex to drug addiction, self-loathing and suicidal depression. TLC’s “Waterfalls,” in part a cautionary tale about promiscuity leading to HIV leading to death. Nirvana’s “Rape Me” (subsequently repackaged as “Waif Me” for sale at Walmart).\u003c/p>\n\u003cp>And what of the generation just after that? I finished Powers’ book thinking about teen pop idols, whose sexuality is their main marketing point, and who are arguably all about fear as well: the Madonna-whore complex set to music. The lyrics to “Genie in a Bottle” — young girl trapped inside container, desperate to be sexual but only as a gift to the right suitor — are practically an \u003cem>ode\u003c/em> to sexual repression, the terror our culture feels toward the prospect of young women in charge of their own sexuality.\u003c/p>\n\u003cp>After the summer of 2003, I never saw most of those Friendship Club campers again. The young girls I used to drive around are all in their early 20s now, no doubt shaped more strongly by Nicki Minaj (whose use of sexuality Powers rightfully notes might warrant its own book) than I ever will be. I’m left with sensory memories: smelly markers, a kid’s empty juice box in my purse, some sunburns.\u003c/p>\n\u003cp>And, of course, the lyrics to those oxymoronic clean versions of pop songs wedged stupidly into my brain — along with the sound of a chorus of young girls’ voices, all eagerly singing along, not giving a damn about the mangled lyrics. Gleefully oblivious to innuendo. And unaware they were in even remote proximity to something they were supposed to fear.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Emma Silvers lives in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"As shown by Ann Powers' new book on sexual honesty in popular music, we still have a long way to go in getting over our taboos.","status":"publish","parent":0,"modified":1705029540,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1225},"headData":{"title":"Race, Sex and Repression on the Airwaves | KQED","description":"As shown by Ann Powers' new book on sexual honesty in popular music, we still have a long way to go in getting over our taboos.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Race, Sex and Repression on the Airwaves","datePublished":"2017-09-14T15:00:03.000Z","dateModified":"2024-01-12T03:19:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13808467/race-sex-and-repression-on-the-airwaves","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2003, home for the summer after my first year at college, I worked at a day camp run by the City of Albany. I’m aware that today’s Bay Area kids attend astrophysics day camp and pole-vaulting day camp and second-wave feminist day camp, but in Albany in 2003 we had what was called the Friendship Club. We went bowling at Albany Bowl. We took field trips to Scandia to play Skee-Ball, and to the Jelly Belly factory, and sometimes just over to Codornices Park in Berkeley to go down the big cement slide on pieces of cardboard. We had Cheez-Its and Capri Suns. It was simple and pure and great.\u003c/p>\n\u003cp>One of my regular tasks on these field trips was to drive the City of Albany van. I’d make sure everybody’s seatbelt was fastened, put the key in the ignition, and turn up the volume on the only radio station we were allowed to listen to: Radio Disney, a family-friendly station aimed at the under-14 set. What this meant, in practical terms, is that I spent the summer of 2003 inadvertently learning the lyrics to “clean” versions of every pop and R&B single that had charted over the previous decade. Usually the girl campers wanted to ride with me, so often I had a van full of girls ages 6 through 12 belting out absolutely ludicrous, neutered mutilations of pop songs whose entire original point was to be overtly sexual.\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/LKEu8jIQ0Pw'\n title='//www.youtube.com/embed/LKEu8jIQ0Pw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I had these Disney Radio edits on the brain this week as I read Ann Powers’ excellent book, \u003ca href=\"http://www.npr.org/2017/08/17/542468737/in-good-booty-our-hot-and-heavy-love-affair-with-pop-music\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Good Booty: Love and Sex, Black and White, Body and Soul In American Music\u003c/em>\u003c/a>. It’s an impressively thorough look at how American popular music, sex, and race have intertwined over the past two centuries — or, rather, how our history of complicated and repressive attitudes toward sex and the painful history of racism in this country have been and continue to be audible in pretty much every pop song on the radio.\u003c/p>\n\u003cp>It’s an ambitious topic, one that would feel unwieldy in the hands of a less skilled writer, but it helps that Powers a) is one of our greatest living cultural critics, and b) doesn’t promise an exhaustive record. What she does offer is an impressively cohesive narrative, considering the book’s breadth: the reader is carried from New Orleans to New York to Memphis to Chicago to Detroit to San Francisco, from the early 1800s through the present, following the ways music and dance have always, in Powers’ estimation, served as the place in which Americans are most honest about the power of sexuality.\u003c/p>\n\u003cfigure id=\"attachment_13808472\" class=\"wp-caption alignright\" style=\"max-width: 513px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808472\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AnnPowers.1.jpg\" alt=\"Ann Powers.\" width=\"513\" height=\"766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AnnPowers.1.jpg 513w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AnnPowers.1-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AnnPowers.1-240x358.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AnnPowers.1-375x560.jpg 375w\" sizes=\"(max-width: 513px) 100vw, 513px\">\u003cfigcaption class=\"wp-caption-text\">Ann Powers. \u003ccite>(Lucent Vignette Photography/HarperCollins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s the shimmy; there’s twerking; there’s unspoken eroticism in gospel. Musicians and performers themselves aren’t discussed as human beings so much as they are conduits, time capsules, tangible artifacts of The Way We Lived and how we thought about sex, gender, race, religion and politics at a given time. There’s Little Richard, Elvis, and Prince; the holy counterculture trinity of Jim, Jimi, and Janis. Beyoncé’s “Formation” gets its rightful due as a landmark work of complicated art about black Southern womanhood; it’s no coincidence that Powers kicks off the book with a chapter presenting New Orleans as the historical soul of popular music.\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>But Miley Cyrus’ twerking phase and her bodysuit-clad VMA sexual rebellion, it might be noted, appear just as academically, cast as the logical result of centuries of thoroughly American — which is to say thoroughly mixed — messages about sex and race.\u003c/p>\n\u003cp>“Historically, music has become this vessel for hidden realities and for expressions of pride and dignity for the most wrongly oppressed in our culture and society,” Powers recently \u003ca href=\"http://www.rollingstone.com/culture/lists/good-booty-10-things-we-learned-about-sex-and-music-w498892\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>Rolling Stone\u003c/em>\u003c/a>. “That’s how, tragically, we treat eroticism as well. We marginalize it, we try to repress it, we pretend it doesn’t exist and we treat it like an evil force. Music has been the place where people who had been treated in that same way can speak.”\u003c/p>\n\u003cp>Despite the book’s chronological breadth, the section of \u003cem>Good Booty\u003c/em> I found myself returning to concerned recent history, an event I lived through but was too young to understand: the AIDS crisis. In painful stories, Powers describes how, following a period of sexual liberation, and of disco and community built inside gay clubs, the music birthed during and after the AIDS epidemic’s peak naturally reflected a substantial shift, casting sex as something to be feared. I’ve always known, of course, that AIDS irrevocably leveled scenes and families and subcultures, and that many — especially here in San Francisco — really never bounced back.\u003c/p>\n\u003cfigure id=\"attachment_13808475\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808475\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-800x533.jpg\" alt=\"Beyonce and Nicki Minaj perform onstage at the Barclays Center in Brooklyn, 2015. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyonce and Nicki Minaj perform onstage at the Barclays Center in Brooklyn, 2015. \u003ccite>(Jamie McCarthy/Getty Images for TIDAL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I hadn’t understood was just how clearly the pop culture I grew up on in the ’90s and early 2000s was still shaped by these aftershocks. Between the AIDS crisis and Reagan-era conservatism, it’s no surprise that the generation who came up during the grunge era understood sex from a young age to be dangerous: \u003ca href=\"http://uproxx.com/music/ann-powers-good-booty-book-sex-american-music/\" target=\"_blank\" rel=\"noopener noreferrer\">something that could kill you\u003c/a>. There was Nine Inch Nails’ “Closer,” which ties sex to drug addiction, self-loathing and suicidal depression. TLC’s “Waterfalls,” in part a cautionary tale about promiscuity leading to HIV leading to death. Nirvana’s “Rape Me” (subsequently repackaged as “Waif Me” for sale at Walmart).\u003c/p>\n\u003cp>And what of the generation just after that? I finished Powers’ book thinking about teen pop idols, whose sexuality is their main marketing point, and who are arguably all about fear as well: the Madonna-whore complex set to music. The lyrics to “Genie in a Bottle” — young girl trapped inside container, desperate to be sexual but only as a gift to the right suitor — are practically an \u003cem>ode\u003c/em> to sexual repression, the terror our culture feels toward the prospect of young women in charge of their own sexuality.\u003c/p>\n\u003cp>After the summer of 2003, I never saw most of those Friendship Club campers again. The young girls I used to drive around are all in their early 20s now, no doubt shaped more strongly by Nicki Minaj (whose use of sexuality Powers rightfully notes might warrant its own book) than I ever will be. I’m left with sensory memories: smelly markers, a kid’s empty juice box in my purse, some sunburns.\u003c/p>\n\u003cp>And, of course, the lyrics to those oxymoronic clean versions of pop songs wedged stupidly into my brain — along with the sound of a chorus of young girls’ voices, all eagerly singing along, not giving a damn about the mangled lyrics. Gleefully oblivious to innuendo. And unaware they were in even remote proximity to something they were supposed to fear.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\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>Emma Silvers lives in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13808467/race-sex-and-repression-on-the-airwaves","authors":["7237"],"categories":["arts_2303"],"tags":["arts_2449","arts_2767","arts_1118","arts_596"],"featImg":"arts_13808469","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/2024/04/Possible-Podcast-Tile-360x360-1.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/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.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. 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You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.","airtime":"MON-THU 11am-12pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"http://www.wbur.org/hereandnow","meta":{"site":"news","source":"npr"},"link":"/radio/program/here-and-now","subsdcribe":{"apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661","tuneIn":"https://tunein.com/radio/Here--Now-p211/","rss":"https://feeds.npr.org/510051/podcast.xml"}},"how-i-built-this":{"id":"how-i-built-this","title":"How I Built This with Guy Raz","info":"Guy Raz dives into the stories behind some of the world's best known companies. 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Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","info":"For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. 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