“THE GOVERNMENT HAS BLOOD ON ITS HANDS – ONE AIDS DEATH EVERY HALF HOUR,” a demonstrator is arrested during ACT UP’s second anniversary action, New York City, March 28, 1989. Photo by Mark Peterson.
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On Tuesday, March 28, 1989, twenty-eight years ago today, AIDS Coalition To Unleash Power (ACT UP) marked its second anniversary with a massive demonstration in downtown New York City.
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In the city’s “largest demonstration on AIDS to date,” the New York Times wrote, “about 3,000 chanting marchers, demanding more government funds and services, ringed City Hall Park yesterday and briefly blocked the Brooklyn Bridge, Broadway and other streets.
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“‘Act up! Fight back! Fight AIDS!’ some demonstrators shouted.
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“Dozens carried banners and posters calling for more money, expansion of overcrowded hospitals, and housing for homeless people with AIDS…
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"ActUp has conducted dozens of protests, the largest before yesterday involving several hundred people on Wall Street last year.
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"Several times during [the] noisy demonstration the crowd broke through police lines and protesters sat in the street, interrupting rush-hour traffic around the Brooklyn Bridge and on Broadway, Centre Street and Park Row.
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"About 500 police officers were on hand. Police officials said 200 demonstrators were arrested. ActUp’s legal monitors said they counted 211 arrests, two for assault and the rest for disorderly conduct and resisting arrest, mostly for interfering with traffic. Most of those arrested were released after being booked by the police.” #lgbthistory #HavePrideInHistory #ACTUP #FightBack #FightAIDS #Resist (at New York City Hall)
KIKI (2016) Official Trailer – 25 years after Paris Is Burning introduced the art of voguing to the world, Kiki revisits New York City’s thriving underground ballroom scene. It’s a larger-than-life world in which LGBTQ youths of color are empowered by staging elaborate dance competitions that showcase their dynamic choreography, fabulous costumes, and fierce attitude. It’s also a safe haven for struggling, at-risk teens who find acceptance, support, and friendship within the Kiki community.
y’all know moonlight is a black gay film. not a “queer poc” film. right?
And I’m a Greek Lesbian. Anyone calling me or anyone what there aren’t will be lynched… oh wait thats wrong? taking this shit to its logical conclusion to uts extreme but inevitible end? division is bad? I’m a person more than anything? The fact I’m human is more important than any race, sexual orientation, or gender? That dividing people is actually the enemy of peace and getting along? I’m fucking done. I’m done with your blog I’m un-following you. I’m sick of you and the rest of tumblr using identity politics to divide people into smaller and smaller groups to make us unable to vote as one and actually make a difference. The Republicans own this country from the smallest elected positions to the presidency, and yet you attack the Democrats the weak the people who are trying to help. Why? I get that it’s frustrating but attacking those who are trying to help drives us away not brings us closer. You want to make progress? Do it without me or without my vote, because I for one do not want to fight over which group is the most oppressed anymore.
liberals are dealing with a lot of political cognitive dissonance rn
Specificity, especially when it comes to recognition of accomplishments, is important for visibility to happen. It is not divisive. Notice OP didn’t say that queer poc films are bad or that those generalized groups are bad. They were saying that we should give proper crest where credit is due.
I think about love on a scale from 1 to 10. Most of us find a 6 or 7, and that’s why we have divorce. It’s the truth. We settle for that 6 or 7. But I like to think Kevin is Chiron’s 10. He’s found that and he realizes that there’s no reason to settle for a 6 or a 7 because, “I know this person is my 10. Whether or not this person believes I’m his 10, I’m going to devote my life to this person entirely.” That’s why the line where he says, “You’re the only man that’s ever touched me,” for me, was the most amazing, most beautiful thing I’ve seen in cinema, period. Because that’s what we strive for as people, to find that one person because they’re there. If Kevin doesn’t feel that they should be together, Chiron is just going to die a miserable person because that’s his person and he won’t settle for anything else. But I like to think they’re together, walking in Central Park hand-in-hand when they’re 90 years old. – Trevante Rhodes
We are inviting queer US immigrants to share their style and stories.
If you identify as a queer US immigrant (No documentation necessary, just living in the US) and would like to submit, please email the following to info@qwearfashion.com:
1. The name you’d like to go by in this article. An alias is fine.
2. 5 high resolution photos illustrating your full range of style (No tobacco products in the photos please!)
3. A short bio in 3rd person – this can link to your website or social media if you’d like
4. The answers to the following questions:
Where were you born, and what brought you to the US?
How has the place in which you live influenced your style?
Has anything from your country of origin carried through to your style today?
What is one thing you’d like the world to know about queer US immigrants?
We won’t necessarily publish every response, as we will curate the article to be as diverse as possible! If anyone is not included, please know that your submission is valued and we invite you to join us on Instagram and share you stories through the #qwear tag.
A note about language: if anyone responding to this feels more comfortable responding in their native language, we have volunteer translators on hand who can translate their words into English.
George Barbier, Illustrations for Les Liaisons Dangereuses by Pierre Choderlos De Laclos, 1934.
During his life, George Barbier was one of France’s most acclaimed illustrators and designers, a forefather of the art deco movement. But after his death in 1932 he quickly sank into obscurity. It’s only in the modern era that his work has been reappraised.
George Barbier, Illustration for Les Chansons de Bilitis by
Pierre Louÿs, 1929.
Barbier is notable for his bold depictions of female sexuality, and an aesthetic in his design work that a modern critic called ‘a kind of lipstick lesbian chic’. Many of his illustrations have a sapphic subtext, featuring women together in intimate poses, or women embracing people of ambiguous gender. Some show women dancing or being affectionate with figures that appear to be male but on closer inspection are clearly women in drag.
George Barbier, Le Feu (The Fire), 1925.This illustration shows a woman reclining in the arms of a person of indeterminate gender.
In his illustrations for Les Liaisons Dangereuses and Les Chansons de Bilitis, this
subtext became outright text, with women naked together, kissing or making love. For the time, these illustrations were extremely daring and
verged on the pornographic (even if they seem quite tame by today’s
standards).
George Barbier, Illustration for Les Chansons de Bilitis by
Pierre Louÿs, 1929.
Little is known about Barbier’s personal life in his hometown of Nantes, but we do know that in Paris he moved almost exclusively in homosexual circles. He was an intimate friend of the dandy and poet Robert de Montesquiou, and mixed with gay intellectuals like Marcel Proust.
George Barbier, Les dames seules (the single ladies), 1910. This early work is particularly striking for its apparent depiction of a butch/femme subculture among gay women in Paris.
His sexuality gave him access to the underground gay scene in Paris, and his knowledge of it filters through into his work. Although many of his illustrations are fictional, fantastical, or historical, here and there we see glimpses of the hidden lives of queer women in
fin-de-siecle Paris.
It also makes his work particularly notable, IMO, because unlike many of his straight male contemporaries, he did not depict sex and romance between women for the titillation of the straight male gaze. His women are complex, resisting bland stereotypes or didactic stories of innocence and fallen virtue. They are beautiful, sensual, dangerous and daring. Even idealised, they seem like real people. They have a self-possession that resists objectification. Their sexuality belongs to them, not to the viewer.
alder-knight 