CP Resource Guide FINAL.Indd
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Psychosocial Aspects of HIV/AIDS: Children and Adolescents Kristin L
Chapter Title Psychosocial Aspects of HIV/AIDS: Children and Adolescents Kristin L. Close, LMSW Objectives Overview 1. Identify psychosocial factors that affect children and Children and adolescents are an ever-growing part of the adolescents infected with human immunodeficiency human immunodeficiency virus (HIV)/AIDS pandemic. virus (HIV)/AIDS and how these factors relate to In 2007, an estimated 2.1 million children younger than general chronic illness. 15 years were living with HIV, and 290,000 children 2. Identify sources of stigma and discrimination died from the disease in 2007 alone. HIV/AIDS takes against children and adolescents and explore how an enormous physical toll on those infected by the stigma affects disclosure of HIV status. virus as well as those who care for them. However, the 3. Examine issues of death and dying and the grief/ psychological toll of the pandemic is just as significant. bereavement process that follows for survivors. The psychological and social effects of HIV/AIDS are 4. Identify particularly vulnerable pediatric and magnified in today’s youth. adolescent populations and explore reasons why they are at increased risk of HIV/AIDS infection and Children involved in the pandemic face a set of psycho- progression. logical and social issues that must be addressed, not 5. Discuss special issues encountered by adolescents overlooked. This chapter will discuss how children and infected with and affected by HIV/AIDS. adolescents are affected by important aspects of the HIV/ AIDS pandemic, including stigma, disclosure, and death, Key Points as well as how health care professionals can support them while dealing with these challenges. -
Queer. Nelson Sullivan (I)
Diarios sin piedad. Los ochenta: queer. Nelson Sullivan (I) Proyectamos en la sesión de hoy cuatro piezas, todas de 1989, que ofrecen Del Sur profundo a la efervescente Gran Manzana un primer acercamiento a su universo: Nelson Sullivan nació en una vieja familia de clase media-alta del Sur Monologue For TV Show (10 min). Nelson anda con su perro en uno de profundo de los Estados Unidos, en Kershaw, Carolina del Sur, en el sus paseos por la ciudad. Por primera y única vez se dirige a los hipotéticos año 1948. Después de graduarse en la universidad, se traslada a Nueva espectadores del primer capítulo del «Nelson TV Show», que nunca tendrá York a principios de los setenta con la idea de dedicarse a la música y a la secuela alguna. composición y con el deseo de huir de los prejuicios y de la claustrofobia propias de la vida en las pequeñas ciudades sureñas del país. Como tantos Nelson Goes to the Red Zone (29 min). Nelson ha sido invitado a una otros jóvenes homosexuales de su generación que emigraron hacia grandes discoteca con motivo de la presentación de una colección de moda, pero el centros urbanos, Nelson desea experimentar formas de vida más liberadas. portero, que no lo reconoce, le impide el paso. El mal humor de Nelson le Este fenómeno de éxodo se dio a conocer como «ola post-Stonewall», en vuelve chistoso y corrosivo. referencia a las violentas protestas que se produjeron, tras repetidas redadas policiales, en las calles de Nueva York en 1969 y que pasaron a la historia Gay Day Parade (26 min). -
PARTY MONSTER Panorama Special PARTY MONSTER PARTY MONSTER Regie:Fenton Bailey, Randy Barbato
IFB 2003 PARTY MONSTER Panorama Special PARTY MONSTER PARTY MONSTER Regie:Fenton Bailey, Randy Barbato USA 2003 Darsteller Michael Alig Macaulay Culkin Länge 99 Min. James St.James Seth Green Format 35 mm, 1:1.85 Gitsie Chloë Sevigny Farbe Brooke Natasha Lyonne Keoki Wilmer Valderrama Stabliste Angel Melendez Wilson Cruz Buch Fenton Bailey Elke Alig Diana Scarwid Randy Barbato,nach Peter Gaiten Dylan McDermott dem Buch„Disco Christina Marilyn Manson Bloodbath”von James St.James Kamera Teodoro Maniaci Schnitt Jeremy Simmons Ton Antonio L.Arroyo Mischung Lance Brown Musik Jimmy Harry Production Design Andrea Stanley Ausstattung Laura Ballinger Kostüm Michael Wilkinson Regieassistenz Michael Lerman Seth Green Casting Susan Shopmaker Produzenten Christine Vachon Jon Marcus PARTY MONSTER Bradford Simpson New York in den frühen 90er Jahren – in der Stadt, die niemals schläft, tobt Co-Produzenten Fenton Bailey das Party-Leben. Zwei der angesagtesten Nightlife-Helden sind zwei junge Randy Barbato Männer aus dem Mittleren Westen: James St. James und Michael Alig sind Executive Producers Wouter Barendrecht nach New York gezogen, um hier berühmt zu werden und groß raus zu Michael J.Werner Edward R.Pressman kommen. Als sie sich begegnen, erkennen sich die verwandten Seelen auf John Schmidt Anhieb; die zwei werden rasch enge Freunde. Sofia Sondervan James ist der intelligentere der beiden, aber Michael ist in allem etwas John Wells schneller. Kaum hat James ihn mit der Party-Szene bekannt gemacht, hat Co-Produktion World of Wonder, Michael auch schon eine ganze Clique um sich geschart: seine Club Kids, Hollywood die ihn lieben und bewundern.Ihnen verdankt er seinen schnellen Aufstieg Produktion zum hippsten Partyveranstalter dieser Jahre.Was ihn auszeichnet,sind Char- Killer Films me und ein spezielles Charisma – hemmungslos feiert Michael seine 380 Lafayette St.,#302 Jugend und das macht ihn zum Star. -
The Decline of New York City Nightlife Culture Since the Late 1980S
1 Clubbed to Death: The Decline of New York City Nightlife Culture Since the Late 1980s Senior Thesis by Whitney Wei Fulfillment of the Requirements For the Degree of BA Economic and Social History Barnard College of Columbia University New York, New York 2015 2 ii. Contents iii. Acknowledgement iv. Abstract v. List of Tables vi. List of Figures I. Introduction……………………………………………………………………7 II. The Limelight…………………………………………………………………12 III. After Dark…………………………………………………………………….21 a. AIDS Epidemic Strikes Clubland……………………..13 b. Gentrification: Early and Late………………………….27 c. The Impact of Gentrification to Industry Livelihood…32 IV. Clubbed to Death …………………………………………………………….35 a. 1989 Zoning Changes to Entertainment Venues…………………………36 b. Scandal, Vilification, and Disorder……………………………………….45 c. Rudy Giuliani and Criminalization of Nightlife………………………….53 V. Conclusion ……………………………………………………………………60 VI. Bibliography………………………………………………………………..…61 3 Acknowledgement I would like to take this opportunity to thank Professor Alan Dye for his wise guidance during this thesis process. Having such a supportive advisor has proven indispensable to the quality of this work. A special thank you to Ian Sinclair of NYC Planning for providing key zoning documents and patient explanations. Finally, I would like to thank the support and contributions of my peers in the Economic and Social History Senior Thesis class. 4 Abstract The purpose of this thesis is to investigate the impact of city policy changes and the processes of gentrification on 1980s nightlife subculture in New York City. What are important to this work are the contributions and influence of nightlife subculture to greater New York City history through fashion, music, and art. I intend to prove that, in combination with the city’s gradual revanchism of neighborhood properties, the self-destructive nature of this after-hours sector has led to its own demise. -
Hiv/Aids and Its Impact Hiv/Aids
Section 1 HIV/AIDS and its impact Section 2 Legal and policy HIV/AIDS AND ITS IMPACT framework Section 3 Employers need a clear understanding of HIV/AIDS and the impact of the epidemic in order to plan a workplace programme. Developing workplace policies This Section helps you fi nd basic information about inf HIV and inf AIDS, and their implications for society as a whole as well as for Section 4 the world of work. Implementing workplace programmes To view the contents, click on the headings on the left or scroll through the pages. Section 5 Good practice and lessons learnt HIV/AIDS - the facts The Human Immunodefi ciency Virus (HIV) is a virus that weakens the body’s immune system, ultimately causing AIDS. The Acquired Immune Defi ciency Syndrome (AIDS) is a cluster of medical conditions linke to HIV infection. These conditions include diseases known as inf 2 opportunistic infections, as well as certain cancers. To date there is no cure, but the onset of AIDS can be slowed and symptoms relieved with the appropriate use of antiretroviral drugs (ARVs). A person with HIV is not necessarily sick, and can go on working for a number of years after infection. ARVs make it possible for people to continue living full and productive lives. You are in Section 1 The ILO Code of Practice on HIV/AIDS and the world of work (Appendix I) and the accompanying HIV/AIDS and its impact Education and Training Manual contain basic facts about the epidemic and its implications, conditions that contribute to inf HIV and AIDS – the facts vulnerability, and the gender dimension. -
Dec1 Untitled REF GUIDE FINAL[2]
UNTITLED RESOURCE GUIDE SUGGESTIONS FOR ENGAGEMENT ABOUT UNTITLED Beginning with a reflection on the early AIDS epidemic, Untitled eschews a linear narrative to introduce a fractious timeline, moving from the sublime to the tragic and back again. By juxtaposing mainstream network news, activist footage, artists' work, and popular entertainment from the last turbulent decades, Untitled references regimes of power that precipitated a generation of AIDS and queer activism and continues today with international struggle and expression. In 2010, artist Jim Hodges was invited to give a lecture on the billboard project of Félix González-Torres at San Antonioʼs Artpace. He teamed up with fellow filmmakers Carlos Marques da Cruz and Encke King to create Untitled. Neither a portrait or a documentary about González- Torres, the film was an attempt to place the viewer “in his room,” that is to say, the filmmakers worked to create, for the viewer, an understanding of the influences and contexts within which González- UNTITLED Torres was working. In Hodges's words, “In this way, the framing of the artist can become a way to project any number of people, endlessly.” A Film by Untitled can therefore be considered to be as much about González- Jim Hodges, Carlos Marques da Cruz, and Encke King Torres and the AIDS crisis as it can be seen as grappling with the continuum of global dehumanization. PURPOSE OF THIS RESOURCE GUIDE In an effort to honor the sense of endlessness that Untitled suggests, this guide is a resource for provoking both public and private conversation. We have provided you with: • WORDS for engagement regarding HIV/AIDS, art, and culture • THOUGHTS to provoke dialogue • HIV/AIDS TIMELINE • INFORMATION about prevention and wellness • LINKS to extend the conversation CREDITS • Like the film, this Resource Guide hopes to raise more questions than it answers. -
WORLD AIDS DAY 2018 the 30Th Anniversary
WORLD AIDS DAY The 30th 2018 Anniversary events • information • stories #BrizWAD2018 | #myredribbon Support people living with HIV this World AIDS Day, make a donation to Brigstowe, local HIV services. Text BRIG05 and your amount to 70072. Thank you. 01 World AIDS Day was founded 30 years ago by two people who were working for the World Health Organisation. The premise was simple: to raise awareness and to dispel stigma. By 1988, tens of thousands of people had died from AIDS-related illness and that number was still rising. There was no promising treatment and people living with HIV and AIDS were experiencing discrimination from employers, landlords and health care professionals. Activist movements had started to rise out of frustration at political apathy in the face of one of the largest public health crisis in modern history. Groups like ACT UP and Treatment Action Group (TAG) were starting to demand the government pay attention. Support and advice organisations were forming to support people living with HIV and AIDS, with the myriad issues that went along with having the virus: housing; work; relationships; and of course, healthcare. Now, 30 years on, where are we? How far have we come? This magazine and programme of events has been designed with our friends, partners, colleagues and of course – people living with HIV – in order to celebrate life, remember those we’ve lost and to raise awareness of an illness that still carries a burden of misunderstanding and stigma. We hope you enjoy reading! Team Brigstowe x 02 Contents The Red Ribbon Project Page 03 #MyRedRibbon Page 04 Rockin the Ribbon since 1987 Page 05 Andy’s Story Page 06 #zerotransmission – THT Page 10 Programme of Events Page 11-17 The Diversity Trust Page 12 UWE Bristol Page 14 Don’t Tell Your Mother Page 17 About Brigstowe Page 18 Support Our Work Page 19 Emily’s Story Page 20 Programme Supporters Page 21 Top HIV Facts Page 22 03 The Red Ribbon Project The Red Ribbon has been an international symbol of HIV and AIDS for years. -
160 Emmy Photographs by Tommy Garcia/The Jude Group Grooming by Grace Phillips/State Management
Randy Barbato and Fenton Bailey 160 EMMY PHOTOGRAPHS BY TOMMY GARCIA/THE JUDE GROUP GROOMING BY GRACE PHILLIPS/STATE MANAGEMENT FOR MORE THAN A QUARTER-CENTURY, RANDY BARBATO AND FENTON BAILEY’S WORLD OF WONDER HAS TACKED CLOSELY TO THE CULTURAL ZEITGEIST, EMBRACING — AS BAILEY PUTS IT — “THE UNEXAMINED AND THE UNCONSIDERED.” SAYS BARBATO: “OUR WORK TYPICALLY HAS A CONNECTION TO PEOPLE WHO FEEL MARGINALIZED OR JUDGED.” BY MICHAEL GOLDMAN TelevisionAcademy.com 161 USHING INTO THE CONFERENCE ROOM ON THE TOP FLOOR OF THE 1930S ART DECO BUILDING THEY OWN ON HOLLYWOOD BOULEVARD, RANDY BARBATO AND FENTON BAILEY APOLOGIZE FOR THEIR LATENESS. THEY’VE JUST COME FROM THE EDIT ROOM, WHERE THEY LOCKED THE FINAL CUT OF MENENDEZ: BLOOD BROTHERS, A TV MOVIE THEY COPRODUCED AND CODIRECTED FOR A JUNE DEBUT ON LIFETIME. Blood Brothers is one of hundreds of projects made by World of Won- English television. That show explored the camcorder revolution, building on der, the production company they have jointly operated since 1991. Bailey a theme that helped launch Barbato and Bailey’s producing careers. and Barbato have flourished by crossing genres and media platforms, and by Fascinated by New York public-access television, the duo created their spotlighting extreme and often controversial topics, including tabloid news, first TV show, Manhattan Cable, out of public-access clips in 1991. It was a gender roles, LGBT issues and, more generally, almost all aspects of human hit in the U.K. and led to more programs there, like the one that eventually sexuality. earned Nevins’s attention. She hired them in 1993 to produce HBO’s Shock “Sex is the engine or driving force of who humans are,” Bailey says. -
Andy Warhol: When Junkies Ruled the World
Nebula 2.2 , June 2005 Andy Warhol: When Junkies Ruled the World. By Michael Angelo Tata So when the doorbell rang the night before, it was Liza in a hat pulled down so nobody would recognize her, and she said to Halston, “Give me every drug you’ve got.” So he gave her a bottle of coke, a few sticks of marijuana, a Valium, four Quaaludes, and they were all wrapped in a tiny box, and then a little figure in a white hat came up on the stoop and kissed Halston, and it was Marty Scorsese, he’d been hiding around the corner, and then he and Liza went off to have their affair on all the drugs ( Diaries , Tuesday, January 3, 1978). Privileged Intake Of all the creatures who populate and punctuate Warhol’s worlds—drag queens, hustlers, movie stars, First Wives—the drug user and abuser retains a particular access to glamour. Existing along a continuum ranging from the occasional substance dilettante to the hard-core, raging junkie, the consumer of drugs preoccupies Warhol throughout the 60s, 70s and 80s. Their actions and habits fascinate him, his screens become the sacred place where their rituals are projected and packaged. While individual substance abusers fade from the limelight, as in the disappearance of Ondine shortly after the commercial success of The Chelsea Girls , the loss of status suffered by Brigid Polk in the 70s and 80s, or the fatal overdose of exemplary drug fiend Edie Sedgwick, the actual glamour of drugs remains, never giving up its allure. 1 Drugs survive the druggie, who exists merely as a vector for the 1 While Brigid Berlin continues to exert a crucial influence on Warhol’s work in the 70s and 80s—for example, The Philosophy of Andy Warhol , as detailed by Bob Colacello in the chapter “Paris (and Philosophy )”—her street cred. -
Fort Gansevoort
FORT GANSEVOORT A Look Back: 50 Years After Stonewall Opening On: Thursday, July 11, 6 – 8 PM July 11 – August 10, 2019 Fort Gansevoort presents A Look Back: 50 Years After Stonewall, organized by Lucy Beni and Adam Shopkorn. The exhibition commemorates the fiftieth anniversary of the 1969 Stonewall Uprising, a six-day riot said to have been spontaneously set off by Marsha P. Johnson in protest of one of many regular police raids at The Stonewall Inn, a gay bar located in New York City’s Greenwich Village. This event marks the beginning of the Gay Liberation movement and the contemporary fight for LGBTQ+ rights in the United States. A Look Back: 50 Years After Stonewall unites the work of queer artists living and producing in and around New York City beginning around the time of the Stonewall Uprising in 1969 and leading into the 1980s. This is only a portion of the story, an incomplete history, most especially given that the Gay Liberation movement and its coinciding contemporary art market had not placed transgender voices nor people of color at the forefront of the conversation. The exhibition includes both documentation of the Gay Liberation movement and a look back at the work made by LGBTQ+ artists during this time. Central to the work included are the subjects of protest, revolt, celebration, and love. Kate Millett’s sculpture, American Flag Goes to Pot (1970) provides a blunt protest to government authority, while Joan E. Biren’s photograph’s document the tenderness of love between two women. The work made during the beginning of the AIDS epidemic, beginning in 1981, becomes entangled in death and remembrance, an epidemic defining this decade most especially in the New York City queer community and resulting in a tremendous amount of loss. -
Nursing Care of Patients with HIV/AIDS Participants Guide
NURSIN G CARE OF Nurses provide life-saving and life-enriching care throughout the world. Often they are the first provider—or even the primary provider—for patients with HIV. While medically focused trainings provide a valuable service to the P ATIENTS WITH ATIENTS doctors in HIV care, nurses need training geared to their competencies and roles. To equip nurses in resource- limited areas with this specialized training, Family Health International has developed Nursing Care of Patients with HIV/AIDS. This curriculum is intended for nurses working in facilities ranging from the primary-level health center to the tertiary-level hospital who work in a variety of roles to provide care to those with HIV. As education levels and experience vary, the curriculum was designed to be comprehensive: it includes 15 modules, a facilitator’s guide, and a participant’s guide. Thus, the length of the course can be tailored to fit individual needs. HI V/ AIDS NURSING CARE OF PATIENTS WITH HIV/AIDS PARTICIPant’s GUIDE PARTICI Family Health International 2101 Wilson Boulevard, Suite 700 Arlington, VA 22201 t 703.647.1908 P f 703.516.9781 ant’s GUIDE www.fhi.org [email protected] ISBN 1-933702-16-8 PN-ADK-152 In July 2011, FHI became FHI 360. FHI 360 is a nonprofit human development organization dedicated to improving lives in lasting ways by advancing integrated, locally driven solutions. Our staff includes experts in health, education, nutrition, environment, economic development, civil society, gender, youth, research and technology – creating a unique mix of capabilities to address today’s interrelated development challenges. -
Documenting Underground Queer Nightlife Culture Through Photography
1 Deontè Lee Faculty Mentor: Richard Rodriguez Documenting Underground Queer Nightlife Culture Through Photography Table of Contents Acknowledgements………………………………………………………………………… 2 Abstract…………………………………………………………………………………… …3 Introduction/ Thesis …………………………………………………………………………4 Critical Analysis: Historical Background and Media Representation Art… ....………………………………………6 Film…….……………………………………13 Visual Materials .……………………………………………………………………………18 Observations New York ……………………………………49 Los Angeles .……………………………..…52 Conclusion .…………….………………………………………………………………..….54 Works Cited …………………………………………………………………………..…….56 2 Acknowledgements This research project would not have come to fruition without the help and guidance from professors Richard Rodrguez and Kathryn Lippsmeyer. The piece of work has encompassed three years of growth for me as an artist and queer individual finding my way in the world. The financial backing I received as a Chancellor Research Scholar and Howard Hayes Research Scholar showcased the University of California Riverside’s commitment towards ensuring student success and championing diverse voices. I would also like to acknowledge the critical mind of Gladis Herrera-Berkowitz that saw the realization of my project even before I did and steered me towards the direction of producing meaningful and contributing research to our campus community. Thank you to everyone who has been a part of making the far-out dreams of a first generation college student a reality. I truly appreciate your belief in my project and my ability to complete it. 3 Abstract My project aims to photograph queer people of color in underground nightlife in Los Angeles and New York. The main project question is: how do queer people use nightlife and fabulousness to decompress from societal pressures by uplifting their emotional wellbeing? Fabulousness is considered dangerous, political, and practiced by queer people who make themselves a spectacle because their bodies are constantly suppressed as stated by Madison Moore in Fabulous: the Rise of the Beautiful Eccentric.