Tony Arena & Ron Grunewald Interview Number: 148 Interviewer
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Who is QAIA? (cont’d from inside front cover) New York City Queers Against Israeli Apartheid (NYC-QAIA) is a group of queer activists who support MAY 24-25 NYC QAIA and QFOLC invites queers and allies to a meeting in the lobby of the Center. The Center Palestinians’ right to self-determination, and challenge Israel’s occupation of the West Bank & East Jeru- approves a QAIA request for space for a few meetings. Michael Lucas threatens for a boycott of city salem as well as the military blockade of Gaza. We stand with Palestinian civil society’s call for boycott, funding of the Center. divestment and sanctions (BDS) against Israel, and the call by Palestinian queer groups to end the oc- cupation as a critical step for securing Palestinian human rights as well as furthering the movement for Palestinian queer rights. Check out QAIA: MAY 26 QAIA’s meeting takes place in Room 412 instead of the lobby. Planning proceeds for QAIA’s pride http://queersagainstisraeliapartheid.blogspot.com contingents. A meeting is scheduled for June 8. What is PINKWASHING & PINKWATCHING anyway? JUNE QAIA participates in Queens & Brooklyn Pride Parades, Trans Day of Action, Dyke March, and NYC “Pinkwashing” is attempts by some supporters of Israel to defend Israeli occupation and apartheid by LGBT Pride March in Manhattan, eliciting positive responses in all; but one group of pro-Palestinian diverting attention to Israel’s supposedly good record on LGBT rights. Anti-pinkwashing is pinkwatch- queers with a different contingent is pushed and shoved by a pro-Israel contingent. ing. Pinkwatching activists (like NYC-QAIA) work to expose Israeli pinkwashing tactics and counter them through our messaging that queer struggle globally is not possible until there is liberation for all JUNE 2 people, and that Israel being washed as a gay-haven instead of an Apartheid settler state is unjustly The Center announces a ban on Palestine solidarity organizing and a moratorium on discussion of saying: human rights for some, not all. -
Forget Burial: Illness, Narrative, and the Reclamation of Disease
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Forget Burial: Illness, Narrative, and the Reclamation of Disease Marty Melissa Fink The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2168 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Forget Burial Illness, Narrative, and the Reclamation of Disease by Marty (Melissa) Fink A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 ii © 2010 MARTY MELISSA FINK All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in English in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Robert Reid-Pharr Date Chair of Examining Committee Steven Kruger Date Executive Officer Robert Reid-Pharr Steven Kruger Barbara Webb Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract Forget Burial: Illness, Narrative, and the Reclamation of Disease by Marty Fink Advisor: Robert Reid-Pharr Through a theoretical and archival analysis of HIV/AIDS literature, this dissertation argues that the AIDS crisis is not an isolated incident that is now “over,” but a striking culmination of a long history of understanding illness through narratives of queer sexual decline and national outsiderhood. -
Freedom, Femininity, Danger: the Paradoxes of a Lesbian Flaneur In
Freedom, Femininity, Danger: The Paradoxes of a Lesbian Flaneur in Sarah Schulman’s Girls, Visions and Everything. Alla Ivanchikova University of Buffalo, SUNY Abstract Resumen Keywords: flaneur, lesbian, queer narrative, streetwalking, Sara Schulman, Girls, Visions and Everything. Palabras Clave: flaneur, lesbiana, narrative queer, paseo, calle, Sara Schulman, Girls, Visions and Everything. The sex of the flaneur A kiss is not just a kiss when it is performed by a same-sex couple in public. Gill Valentine, in “(Re)Negotiating Heterosexual Street”i discusses the case of two lesbians thrown out of the supermarket for kissing in present day England. Valentine’s brief description of this incident reveals that the street/ public space is not asexual or neutral, but restrictive and punishing in relation to the performance of non-heteronormative behavior. The street, she underscores, is an environment that is strictly coded and is presumed to be a heterosexual space where ‘sexual dissidents’, gay men and lesbian women, are not allowed to enact or reveal their sexuality. Valentine also believes that in public places, such as the streets of the city, aggression becomes a direct way of regulating deviant behaviors and imposing unwritten rules of heteronormativity while Alla Ivanchikova Freedom, femininity, Danger: The Paradoxes of . AMERICAN@ ISSN:1695-7814 Vol. IV. Issue 1 2006 bypassing the police or authorities. Direct aggression, indeed, is the most straightforward indicator of the existence and strictness of these rules, and along with more subtle ways like looks of disapproval, whispers and stares, effectively contributes to the ‘heterosexing of space’. At the same time, she readily points out, these responses testify to the fragility of the hetenormative space, the codes and rules or which need to be constantly maintained and protected from the other possibilities that are never too far away. -
Annual Report 2016-2017
Town Information Emergency Telephone Numbers Emergency Medical Fire Police 911 Emergency Call Center (when activated) 860-598-0120 Ambulance 860-434-0089 Fire (nonemergency) 860-399-7921 State Police Troop F Westbrook 860-399-2100 Town Government The Old Lyme Memorial Town Hall, 52 Lyme Street, is open Monday through Friday from 9:00 a.m. to 4:00 p.m. Please call ahead to verify lunch hour coverage. Town offices are closed during state and federal holidays. The same schedule applies to the office of the Town Clerk. Scheduled meetings of town agencies are posted in advance at the Town Hall and posted on the website. Public hearings are advertised in advance. Agendas and meeting minutes are filed with the Town Clerk and posted on the website: www.oldlyme-ct.gov. TOWN OF OLD LYME PHONE DIRECTORY All Town Hall Offices 860-434-1605, Fax 860-434-1400, Email [email protected]. Please dial the 3-digit extension number of the department or person you’d like to reach. Assessor First Selectwoman’s Office Planning Melinda R. Kronfeld 218 Michele E. Hayes 212 Kim Groves 234 Mickie Fraser 219 Catherine Frank 210 Registrars of Voters Building Health (Ledge Light Catherine Carter or John Flower 213 Health District) Marylin Clarke 226 Kathy Hall 230 Patricia Myers 214 Social Services Emergency Management Information Technology Jennifer Datum 228 David Roberge 231 237 Tax Collector Facilities Land Use (Conservation, Judy Tooker 216 Phil Parcak 245 Inland Wetlands, Planning, Toni O’Connor 217 Finance Zoning, ZBA) Town Clerk Nicole Stajduhar 232 Keith Rosenfield 225 Vicki Urbowicz 220 Amy Jensen 215 Kim Groves 234 Zoning Keith Rosenfield (ZEO/ Fire Marshal Kim Barrows 236 IWEO) 225 David Roberge 231 Parks & Recreation Kim Barrows 236 First Selectwoman Don Bugbee 235 Zoning Board of Appeals Bonnie Reemsnyder 211 Kim Barrows 236 Animal Control ................................................................................................. -
2019–2020 L.A.B. Series: Regeneration Andrea Geyer, Sarah
2019–2020 L.A.B. Series: Regeneration Andrea Geyer, Sarah Schulman, and James Allister Sprang December 3, 2019, 6:30pm Inaugurated in 2012, The Kitchen L.A.B. (Language, Art, Bodies) is an annual series that brings together artists and writers across disciplines to unpack how the meaning of artistic and cultural terms may shift—and become more resonant or ambiguous—over time. This year, the series considers the term “regeneration” as it pertains to creating something new; as it relates to recycling or re- purposing historic issues or material; and, within the broader cultural and political landscape, as it intersects with the historical question of whether to bring about change through revolution or reform. What tools from the past remain effective, and how should they be turned over to something new? The L.A.B. season continues with a conversation among Andrea Geyer, Sarah Schulman, and James Allister Sprang that explores the regenerative potential of intergenerational dialogues and inquiries into established lineages. Referring to both recent projects and their broader interests, the speakers will discuss how their engagements with individuals and practices from different eras inform their own perspectives. Andrea Geyer studied at the Fachhochschule Bielefeld and the Braunschweig University of Art in Germany before graduating in 2000 from the Whitney Museum Independent Study Program in New York. Geyer’s work has been the subject of exhibitions at the Irish Museum of Modern Art in Dublin (2018), San Francisco Museum of Modern Art (2017), Goethe Universität Frankfurt (2017), New Foundation Seattle (2015–16), Harn Museum of Art at the University of Florida in Gainesville (2015), and Portland Institute for Contemporary Art (2014). -
Ih!Ide 1661 N
In Sfep Mqgl]zin® Ih!ide 1661 N. Wther Slro®l, Suite 411 NEWS Milwqukee, Wl 53202 Carperrter Rand;ius Mum After Ouing Attanpt ....... 4 (4i 4) 27e-784o yoke Green Boy Angels Of Hape Find Noui Hone .......... 5 (414) 27e-58cO ha iN§TErm©AOL.con DEFIARTMENTS Nedanal dr Tmorld Nouis ISSN* 104i2435 Grottp Notes ........ Rontild F. 6eimon The Arts hade' The Calandm Jo,go L Cobol The Chasies prosidBm COLUMNS William Attewell politically Speching edinrndief TitibdiT;all Jorge Lcchal Inside Out ans edin Kiepin' Iri Sap Robert:s RIAha Monuel Kom.ght assaniorfupulilishers Jock Shorts ....... Ot,i in the St¢„ ......... 62 Richard white in'orn PUBLISH[R'S NOTE: Wo oi® very pleased lo welcome loiir now Keith (lark, Ron 6eimon, Kevin lsom, Jomokayo, addfronsloourstllff.JimLautenhachisreioininglhe/n5tepleqm,thistimous Owen Keehnen, Jim W. Loutenboch, Chulene Lichtenstein, a wTifer covering evenls and neus in the Milwqukee qi'eo. As parl of our Morrin Liebmon, Cheryl Myeis, Richard Mohr, commineul lo cover lesBi6qy Wisconsin, cheryl Myers has ioined us os nell. Dole Reynolds, Shelly Roberts, Mary Shofer, Jamie Toylor, Her beat will bo the Green Bay rind Applelon areas. tledt out her story Green AhenB Zorembko, Yvonne Zipter Bdys Angels Of Hope MC( Oiurch on page 5. Richnd White, .n Ohio trms- contrwhngwhas plont, rius tone on bound us our irfem, a first for /n 5fep, dnd we are groleful lo hove him. And finafty, Munuel Kortrighl rounds out our full-tim offi[o slofl JomesToylor,Vincent6oudos os lhe Assisldul lo the Publishers. Welcome ohoqrd one and olll pholographors Roben Amold, Paul Hoffmunn, (omper unnds Wells Ink atdirrfuandaddeskyn rd###!##qT:':##,Or#€#ony#FTcthT#n£'se#xng rdgivus or pelful odentoton, pwhce oT belrfe of sock person oi moinbes of wh orgorizofro. -
Gentrification and Lesbian Subcultures in Sarah Schulman's
Aneta Dybska Gentrification and Lesbian Subcultures LQ6DUDK6FKXOPDQ¶V Girls, Visions and Everything A 2010 press release accompanying the launching of a 40-second film Discovered (Odkryta SURPRWLQJ àyGĨ DV D FDQGLGDWH IRU WKH (XURSHDQ &DSLWDO RI &XOWure 2016, GUDZVDWWHQWLRQWRWKHFLW\¶VXQLTXHQHVVDQGPDJLFDO\HWXQVHWWOLQJDSSHDO'LUHFWHGE\ %RU\V/DQNRV]³'LVFRYHUHG´LQFRUSRUDWHVWKHILOPQRLUDHVWKHWLFWRPDSWKHFLW\¶VFXl- WXUDOSRWHQWLDODQGFUHDWLYHHQHUJLHVRQWR.VLĊĪ\0á\QWKHFLW\¶VKLVWRrical textile indus- try district. Home to the thriving Polish textile industry since the early nineteenth cen- WXU\àyGĨHQWHUHGWKHWZHQW\-first century as a major player in the revitalization of its once vibrant urban spaces, including the conversion of dilapidated factory buildings in .VLĊĪ\0á\QLQWRPRGHUQOLYLQJVSDFHV$VUHFHQWO\DV0D\DQ$XVWUDOLDQFRPSa- ny, Opal Property Developments, put up for sale stylish lofts in a gated community on the former site of the Karol Scheibler factory complex. Shot against the backdrop of nineteenth-FHQWXU\ LQGXVWULDO DUFKLWHFWXUH RI ZRUNHUV¶ homes (IDPXá\), Discovered stages an urban drama of a man in a trench-coat and a felt hat, possibly a private eye, with a camera and flashlight, pursuing a woman, a femme fatale type, along the dimly-OLWDOOH\ZD\VRIQLJKWWLPH.VLĊĪ\0á\Q3OD\LQJRQWKHWUDGi- WLRQDOVH[XDODWWUDFWLRQLQWKHILOPQRLUFODVVLFV/DQNRV]IRUHJURXQGVàyGĨ¶VXUEDQP\s- WHU\LQOLQH ZLWKWKHFLW\RIILFLDOV¶SODQVWRDWWUDFWDUWLVWVLQWRWKHSRVWLQGustrial, disin- vested, city-owned area but, equally, to transform it into an incubator of creativity, thus forging a new economy of cultural production. As Lankosz admits in an interview, his inspirations take root in the experience of the American metropolis: [àyGĨ@UHPLQGVPHRI1HZ<RUNZKHUHWKHDUWLVWVVHWWKHWUHQGVLQWKHXUEDQVSDFH They get to some places first, they get the feel of those places, they are inspired by WKHP«7DNHIRUH[DPSOHWKH0HDWSDFNLQJ'LVWULFWLQ1HZ<RUN8QWLOUHFHQWO\WKLV was a EXWFKHUV¶QHLJKERUKRRGDQGWRGD\LWKDVEHFRPHDKLSSODFH7KHDUWLVWVFDPH first and attracted money to the area through fashion designers, clubs, etc. -
From the Co-Chairs
Society of American Archivists Lesbian and Gay Archivists Roundtable Newsletter Number 35, Fall 2009 / Winter 2010 In this issue: From the Co-Chairs 1 Editor’s note 2 LAGAR Announcements 2 Annual Report 2 Meeting Minutes 4 Archive news & announcements 6 Making History 7 News bits and bites 8 International news 11 Call for papers / proposals 11 Upcoming conferences 14 Something completely different 15 In memoriam 16 On the brighter side 21 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From the Co-chairs: LAGAR serves as an important resource to LGBTQ archivists and the collections they administer whether these archives are part of a parent organization or are independent or community-based repositories. The effort to collect and make publicly available the work of LGBTQ people is important and to have such a group that is committed to assisting its members with information about archival practices and ensuring that news is disseminated about ongoing collecting and digital projects is invaluable . Further, LAGAR serves a very vital function within SAA to ensure that LGBTQ archival issues are visible within organization. These guiding thoughts are always with us as we strive to carry out the mission and goals of the LAGAR roundtable and the concerns of its members - just wanted you all to know. Please let us know any thoughts on your mind and we’ll work to get an answer or find a solution. May you all have a safe holiday season filled with wonderful memories. Heidi Marshall and Jim Cartwright Female and Male Identified Co-Chairs ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Archival InQueeries page 1 Fall 2009 / Winter 2010 Editor’s notes: Hello LAGAR-ites! I hope you all have had a wonderful year. -
Lesbian Suicide Musical"
The Journal of American Drama and Theatre (JADT) https://jadt.commons.gc.cuny.edu Branding Bechdel’s Fun Home: Activism and the Advertising of a "Lesbian Suicide Musical" by Maureen McDonnell The Journal of American Drama and Theatre Volume 31, Number 2 (Winter 2019) ISNN 2376-4236 ©2019 by Martin E. Segal Theatre Center Alison Bechdel offered a complicated and compelling memoir in her graphic novel Fun Home: A Family Tragicomic (2006), adapted by Lisa Kron and Jeanine Tesori into the Broadway musical Fun Home (2015). Both works presented an adult Bechdel reflecting on her father’s troubled life as a closeted gay man and his possible death by suicide. As Bechdel herself noted, “it’s not like a happy story, it’s not something that you would celebrate or be proud of.”[1] Bechdel’s coining of “tragicomic” as her book’s genre highlights its fraught narrative and its visual format indebted to “comics” rather than to comedy. Bechdel’s bleak overview of her father’s life and death served as a backdrop for a production that posited truthfulness as life-affirming and as a means of survival. Fun Home’s marketers, however, imagined that being forthright about the production’s contents and its masculine lesbian protagonist would threaten the show’s entertainment and economic potential. It was noted before the show opened that “the promotional text for the show downplays the queer aspects,” a restriction that was by design.[2] According to Tom Greenwald, Fun Home’s chief marketing strategist and the production’s strategy officer, the main advertising objective was to “make sure that it’s never ever associated specifically with the ‘plot or subject matter.’” Instead, the marketing team decided to frame the musical as a relatable story of a family “like yours.” [3] The marketers assumed that would-be playgoers would be uninterested in this tragic hero/ine if her sexuality were known. -
Privilege, Access, Shunning: Familial Homophobia and Its Representations in the Works of Sarah Schulman
Jarosław Milewski Privilege, Access, Shunning: Familial Homophobia and Its Representations in the Works of Sarah Schulman Abstract: In her book Ties That Bind: Familial Homophobia and Its Consequences (2009) Sarah Schulman explores the way in which heterosexual privilege interacts with the institution of family, and criticizes its destructive impact on familial relationships. According to her theory, the basis of homophobia is a pleasure principle inscribed in the image of family which encourages every privileged family member to enact their dominance on the excluded. Although Schulman has expressed this idea in clear theoretical terms much later, I argue that it has been a visible element of her writing since the 1980s. This paper demonstrates how the author expressed this idea in the past using diverse sociocultural contexts, and how numerous plots from her oeuvre serve as examples to mechanisms of familial homophobia discussed in Ties That Bind. Keywords: queer, AIDS, family, homophobia, Schulman Introduction Family in Western culture is predominantly defined through the criteria of consanguinity or marital relationship. Both criteria are rooted in the central metaphor of reproduction. Since this immediately excludes any non-reproductive couple from full participation in kinship, such an assumption is inherently heterosexist. For gay people, it is coming out to one’s relatives, and the following implied failure to fulfill one’s expected reproductive role, that used to mark the departure from the heteronormative role within the infinitely multiplying nuclear family. Unsurprisingly, this institution has been subject to analysis and criticism of queer theorists and activists, while gay people often experimented with alternative forms of kinship that could redefine the criteria of belonging. -
DYKE TV Show 201 -August 2000 1) DYKE MARCH THEN and NOW, Dyke TV Takes a Look Back at the Ftrst Dyke March Held in 1993 in Wash
DYKE TV Show 201 -August 2000 1) DYKE MARCH THEN AND NOW, Dyke TV takes a look back at the ftrst Dyke March held in 1993 in Washington, D.C., the first New York Dyke March in 1994and the most recent Dyke March in 2000. PRODUCED BY DYKE TV. approx. 15:00 2) I WAS A LESBIAN CHilD, A lesbian discusses her childhood with pictures. PRODUCED BY MARY PATIERNO approx. 4:00 3) 1-88-CAR BUTCH, A parody of a lesbian mechanic who gives advice over the phone. PRODUCED BY MAGGIE BURKLE approx. 3:00 4) DYKE TV GET BLOWN AWAY, Dyke TV promotional piece. PRODUCED BY MARY PATIERNO approx. 2:00 4) NOT BARBIE, NOT KEN, A discussion of butch-femme stereotypes. PRODUCED BY DYKE TV. approv. 3:00 DYKE TV Show 202 Free Speech TV -October NYC-September 1) LESBIAN PARENTING, Part 2- Dyke TV Talks to Lesbian Moms about 2nd parent adoption and other issues facing lesbian parents. PRODUCED BY ALICIA SALZER approx. 14:00 2) 1-88-CAR-BUTCH, Dyke mechanic gives advice over the phone. PRODUCED BY MAGGIE BURKLE approx. 1:00 3) CATHIE OPIE, Dyke TV talks to artist/photographer Cathie Opie about her most recent show at a New York City art gallery. PRODUCED BY ANITA ALLYN approx. 6:00 1 4)MISHI6""1\1 V.dM(N SRAISL I &S+IU{I' Part Sepw §!o§t Otop!a, l 66 l£1l'tffills····· ttoo ;;::roc; ·::;::sv~,w.•M£ sm ~ ,. I DYKE TV Show 203 Free Speech TV -DECEMBER NYC-I~fiF 5 H Oc::..-1- 1) BARBARA SMITH, Part 2- Dyke TV visits Bluestockings Women's Bookstore for a reading by activist and author Barbara Smith. -
Reading Group Guide
READING GROUP GUIDE THE COSMOPOLITANS: A Novel by Sarah Schulman 978-1-55861-904-3 paper, $15.95 • 978-1-55861-904-3 hardback, $27.95 1. New York City is its own character in The Cosmopolitans, informing how Bette and Earl live their everyday lives, as well as shaping the characters’ understanding of “home.” What streets, restaurants, landmarks—anything specific to your city or town—define your idea of “home”? 2. How did the 1950s setting impact your reading of the novel? Were you surprised by any dis- crepancies or similarities between the past era and today? Does the novel succeed in acting as a historical snapshot? 3. The three central female characters—Bette, Hortense, and Valerie—represent different generations of women at different places in their lives. Did you relate to one more than the others? How have you changed and adapted to shifting circumstances—place, relationships, priorities—as you’ve grown older? 4. Schulman frames her novel as a performance, using “Acts” and an “Intermission” to divide sections and events; in the opening scene, Bette views her world as she would a movie. What are other examples of performance in the novel? How are Earl’s and Hortense’s acting aspira- tions different or similar to Bette’s performance as a loving cousin, Valerie’s performance as an advertiser, or broader gendered or racial performances? 5. Though he longs to find success as an actor, Earl is forced to work a demeaning job at a slaughterhouse. When have you dealt with compromise or sacrifice, and how have you worked to either accept or challenge the disappointment? 6.