Browsing: Revivals

January – February, 2013

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… ACT UP is going to be mined by future historians, museum curators, and graduate students for all sorts of things. What France’s film does is assemble what are essentially home movies that give the viewer a visceral sense of what it was like to be at the meetings and demonstrations. Of course, a film about ACT UP is not the whole history of AIDS. A shot of the Quilt, an idea from San Francisco, reminds us how its expression of grief complemented the New Yorkers’ outrage. But try-or don’t try-to imagine AIDS without ACT UP. They fought back, fought AIDS, changed medical protocols, and saved lives. …

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… Schulman spends the first half the book talking about her “solidarity visit”-by which she means solidarity with both the Israeli and Palestinian peoples, especially GLBT people among both. … The book’s second part describes what happened when Schulman returned home, when she organized a speaking tour in the U.S. for three GLBT Palestinian-Israeli activists. …

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ASSESSING the state of the LGBT print media universe is like pinning Jell-O to a wall. Whether discussing local or national publications, the situation is changing at such an accelerated pace that no one can predict the future of these media outlets. Because of the dual spears of the economic downturn and the ascent of the Internet, this inability to forecast is true of both gay and mainstream print-based companies. …

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Told from Patrick’s perspective, Paternity Test is rich with angst and eagerness, laced with past-inflicted pain but also sprinkled with hope.

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RECOVERING or reframing history-creating a “people’s history”-has been important for all identity-based social movements, but it’s been crucial and particularly revelatory for the GLBT movement. …

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Ellen Forney is both bisexual and bipolar; she’s had to “come out” twice. In her new graphic memoir, Marbles: Mania, Depression, Michelangelo and Me, she shares the experience of coming to terms with her diagnosis and informing friends and family.

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… At 84, Albee is notoriously cagey during interviews, and enjoys a good game of cat-and-mouse, sometimes craftily switching roles with the interviewer. I spoke to the playwright shortly before the revival of Who’s Afraid of Virginia Woolf on Broadway on October 13th-fifty years to the day of its première …

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REBELS don’t walk. They drive. Kerouac went on the road by bus and truck; Dylan is still singing about a “hopped-up Mustang Ford.” Without that now iconic 1949 Mercury, James Dean might have become a rebel without a car. Working within this automotive American tradition, veteran rocker Melissa Etheridge has titled her latest album (her twelfth) 4th Street Feeling. On its cover, the Oscar winner and two-time Grammy winner stands confidently in front of a teal Chevy Impala. A suitcase and guitar are strapped to the roof while a leather-jacketed Etheridge holds the keys as if ready to roll. “Take me away, way back to that 4th Street feeling now,” she sings on the bluesy title track, “when everything I had I could fit inside my Chevrolet.”

Working within this automotive American tradition, veteran rocker Melissa Etheridge has titled her latest album (her twelfth) 4th Street Feeling. On its cover, the Oscar winner and two-time Grammy winner stands confidently in front of a teal Chevy Impala.

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THE FIRST GAY PERSON I ever met was also the first lover who died of AIDS. Tom was an ebullient bon vivant who loved to cook, built his own clavichord, and snuck me into the Episcopal church where he was the organist to play Bach works till dawn. Unbeknownst to us when we met in 1980 (my freshman year of college), HIV was silently insinuating itself into the bloodstream of men and women around the globe. It sprung into the public’s attention in 1981 after physicians published a report on an unusual outbreak of Pneumocystic pneumonia (PCP) affecting five previously healthy young gay men in Los Angeles with weakened immune systems. …

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BASED ON THE NOVEL by Peter Cameron, the movie Someday This Pain Will Be Useful to You is a curious hybrid of international film financing and American “indie” narrative style. The story deals with a teenage boy from the hip urban haute bourgeoisie living somewhere in Manhattan or Brooklyn’s chic bohemia …

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