AIDS Coalition to Unleash Power, ACT UP,¬†works to direct action to end the AIDS crisis. (Washington Blade file photo by Michael Key)
NEW YORK ‚ÄĒ An incident at New York‚Äôs Mount Sinai Medical Center emergency room earlier this month in which a man requested PEP (post-exposure prophylaxis) after fearing he‚Äôd been exposed to HIV but was allegedly told there was ‚Äúno such treatment,‚ÄĚ inspired an ACT UP protest on July 17, New York Magazine reported.
About 20 ACT UP members carried posters that said ‚ÄúWhy Didn‚Äôt Your E.R. Know About HIV Morning-After Drugs?‚ÄĚ and ‚ÄúHow Many More Infected Before You Get it Right?‚ÄĚ They walked in a circle and chanted, ‚ÄúWhat do we want? PEP on demand. When do we want it? Now!,‚ÄĚ the magazine reported.
The man, whom ACT UP says wishes to remain anonymous, was allegedly told by three ER staffers that there was no such treatment, ACT UP claims according to the article. They told New York Magazine that it was only after they got in touch with a Mount Sinai doctor that the man was given PEP.
Hospital staff issued a statement saying he was treated properly. They referenced some ‚Äúinitial confusion‚ÄĚ and quoted an e-mail supposedly from the man. A Mt. Sinai staff member told the New York Magazine reporter there ‚Äúwas a mix-up that night.‚ÄĚ
ACT UP protesters claim that such occurrences are too common eight years after the CDC approved PEP and that an alarming number of New York residents are unaware that PEP is available, the article said.
ACT UP New York and its allies held a protest last week at the New York City Department of Health and Mental Hygiene sparked by recent funding cuts to the city‚Äôs PEP program. (Photo by Brandon Cuicchi and Bacilio Mendez II; courtesy of ACT UP New York)
NEW YORK ‚ÄĒ ACT UP New York and its allies held a protest last week at the New York City Department of Health and Mental Hygiene sparked by recent funding cuts to the city‚Äôs PEP program (post-exposure prophylaxis), what they say is a lack of awareness campaigns about the availability of HIV-prevention drugs (both pre- and post-exposure to HIV) and what they contend has been misleading data, the group said in a press release.
The group is calling the current rates the ‚Äúsecond wave‚ÄĚ of HIV/AIDS or ‚ÄúAIDS 2.0.‚ÄĚ
‚ÄúPEP and PrEP are lifesaving drug regimens that can prevent HIV infection, yet few know about their availability,‚ÄĚ the press release said. ‚ÄúThe city has chosen not to alert citizens about either drug in hopes of stemming demand, even though knowledge of either drug can save lives.‚ÄĚ
“The good intentions of Mayor Bloomberg and his incompetent Health Department have given us a new HIV Emergency that relies on 30-year-old tactics and bad science to hide this disaster,” said Jeton Ademaj of ACT UP.
‚ÄúNew York City spends little to none of its own money on HIV prevention. The (Department of Health) relies on federal funding and chooses to abandon HIV prevention when faced with funding cuts, rather than fund prevention itself. The lives of New Yorkers are worth (the Department‚Äôs) money,‚ÄĚ he said in the press release.
In an e-mail response to Out, the department said, ‚ÄúWe stand by the favorable results we have achieved in reducing citywide morbidity and mortality associated with HIV and in the quality of our data.‚ÄĚ It cited $22.4 million set aside for HIV prevention in its current budget.
Gay Men‚Äôs Health Crisis leaders are discussing where the agency should turn its attention. (Washington Blade file photo by Michael Key)
NEW YORK ‚ÄĒ In the wake of a change in leadership, staff and supporters of New York‚Äôs Gay Men‚Äôs Health Crisis are discussing where the agency should turn its attention, the New York Times reports.
Last year, the organization operated at a six-figure loss and government money is increasingly difficult to get, the article said. David Fazio, the chief financial officer, told the Times that despite running a deficit, the group‚Äôs financial situation remained strong. It has a current annual budget of $26.7 million, and the AIDS Walk next year is expected to raise $5.4 million.
Myron Sulzberger Rolfe, the chair of the board of directors, said the group had helped thousands of clients directly, and tens of thousands of others through its programs and outreach efforts.
ACT UP‚Äôs Peter Staley called many organizations around the country dedicated to fighting HIV/AIDS, including Gay Men‚Äôs Health Crisis, ‚ÄúAIDS Inc.,‚ÄĚ arguing that they have become stale and timid, content to take government money and not challenge the status quo.
‚ÄúFor those of us who never left the crisis mentality and think that is our best posture, to see these large bloated bureaucracies rich with large government grants and the still stubbornly high rates of infection in this country, it is frustrating,‚ÄĚ he told the Times.
From 2001 to 2011, the number of new HIV diagnoses in New York City declined by 40 percent. In 2001, there were 5,841 diagnoses. In 2011, there were 3,404, according to the city‚Äôs health department.
Staley said that while progress had certainly been made, the annual number of new infections was unacceptable in a city with the kinds of health and education resources that New York has, the Times article noted.
SAN FRANCISCO ‚ÄĒ Gilead’s new once-daily AIDS drug¬†Stribild¬†provides an attractive option for those with HIV who have never started a meds regiment before, but activists say the $33,000 a year price-tag will make it unattainable for most who need it.
Also nominated in the documentary category was Kirby Dick, straight director of ‚ÄúThe Invisible War.‚ÄĚ Dick directed the 2009 film ‚ÄúOutrage,‚ÄĚ which examined outing public figures. Gay screenwriter Tony Kushner, who penned ‚ÄúAngels in America‚ÄĚ was nominated in the Best Adapted Screenplay category for ‚ÄúLincoln,‚ÄĚ and gay writer/director Chris Butler’s ParaNorman, which features Mitch ‚ÄĒ considered the first young openly gay character in a children’s animated film ‚ÄĒ was nominated for Best Animated Feature.
Peter Staley in a scene from ‘How to Survive a Plague.’ (photo by William Lucas Walker courtesy Sundance Selects)
The Johns Hopkins’ Center for AIDS Research and the Baltimore Student Harm Reduction Coalition will present the critically acclaimed documentary ‚ÄúHow to Survive a Plague‚ÄĚ with a Q&A session with the film’s Oscar-nominated director, David France, to follow on Jan. 29.
The event, which is free and open to the public, takes place at 5 p.m. at the Johns Hopkins Bloomberg School of Public Health, Becton-Dickinson Auditorium, 615 N. Wolfe St. in Baltimore. A light reception will take place at 7:45 p.m.
‚ÄúHow to Survive a Plague‚ÄĚ is a 2013 Oscar nominee for Best Documentary Feature. The film, using never-before-seen archival footage from the 1980s and ’90s, focuses on the coalition of ACT UP and TAG (Treatment Action Group) consisting of young people, many of them HIV-positive young men, who took on Washington and the medical establishment.
Ed Koch (Photo by Boss Tweed via Wikimedia Commons)
Former New York City Mayor Edward I. Koch, who has been credited with rescuing his city from near financial ruin while also being condemned by gay and AIDS activists for failing to adequately address the AIDS epidemic, died on Friday of congestive heart failure at a New York hospital. He was 88.
Known for his bluntness and New York style ‚Äúchutzpah,‚ÄĚ Koch served three terms as mayor, from 1978 to 1989, winning re-election by overwhelming margins while brushing off and later denying repeated rumors that he was a closeted gay man.
Before becoming mayor, Koch, a Democrat, served as a member of the U.S. House of Representatives from 1968 to 1977, representing a district that included Manhattan’s Greenwich Village. In 1975, he and then U.S. Rep. Bella Abzug (D-N.Y.) co-introduced a sweeping gay rights bill, the first such bill to be introduced in Congress.
The bill called for banning discrimination based on sexual orientation in the areas of employment, housing and public accommodations. Like the less ambitious Employment Non-Discrimination Act, or ENDA, introduced years later that covers only LGBT-related employment discrimination, the Abzug-Koch bill died in committee.
Shortly after taking office as mayor, Koch issued an executive order prohibiting job related discrimination in city government agencies based on sexual orientation.
Although he remained a gay rights supporter throughout his three terms as mayor, Koch alienated a large part of the LGBT community by what gay and AIDS activists have said was a failure to take adequate steps to address AIDS as it wreaked havoc on gay men and others in New York in the early 1980s.
New York gay journalist, TV commentator and LGBT rights advocate Andy Humm said many gays believe Koch‚Äôs status as a closeted gay man made him uncomfortable dealing with a disease that at first appeared to be impacting gay men more than any other group.
‚ÄúIt happens that I‚Äôm heterosexual, but I don‚Äôt care,‚ÄĚ Koch said in a 1989 radio interview. ‚ÄúI happen to believe there is nothing wrong with homosexuality. It‚Äôs whatever God made you‚Ä¶I do care about protecting the rights of 10 percent of our population who are homosexual and who don‚Äôt have the ability to protect their rights,‚ÄĚ he said.
‚ÄúHe was probably one of the most famous closet cases of all times,‚ÄĚ Humm told the Blade.
Humm and others familiar with Koch‚Äôs record as mayor have said most LGBT activists in New York were far more concerned about Koch‚Äôs response to the early AIDS epidemic than they were about his sexual orientation.
New York gay rights attorney Bill Dobbs said that Koch‚Äôs sluggish response to AIDS prompted many in the gay community, who supported Koch on other issues, into becoming more strident and even radicalized on AIDS matters.
‚ÄúIn a strange way there was a silver lining that came from his lack of response,‚ÄĚ Dobbs told the Blade. ‚ÄúHis poor response on AIDS triggered greater activism and the creation of ACT UP.‚ÄĚ
Among those responding were gay author and playwright Larry Kramer, one of the founders of ACT UP, the direct action AIDS group that engaged in sit-ins and protests across the country, including in New York.
In his now internationally acclaimed play about AIDS, ‚ÄúThe Normal Heart,‚ÄĚ Kramer‚Äôs characters refer to what they claim was the unresponsiveness of the Koch administration in the early 1980s as they struggled to create a community organization to help gay men dying of AIDS.
The Gay Men‚Äôs Health Crisis, the organization that Kramer also helped to found in real life and in which his play depicts on stage, became the first of many community-based AIDS service groups to spring up across the country.
In an email exchange on Friday, the Blade asked Kramer if he thought Koch supporters had some merit in saying that Koch faced budget and funding constraints and did what he could in the early days of the epidemic to provide some city resources to address AIDS.
‚ÄúBullshit,‚ÄĚ replied Kramer. ‚ÄúEvil deeds are evil deeds.‚ÄĚ
D.C. gay activist Peter Rosenstein, who lived in New York and worked in politics at the time Koch first won election as mayor, said he supported Abzug over Koch in the hotly contested 1977 Democratic mayoral primary. In the run-off between Koch and Mario Cuomo, who later became New York’s governor, Rosenstein said he backed Cuomo.
‚ÄúEd Koch was an enigma,‚ÄĚ said Rosenstein. ‚ÄúHe was an egomaniac, brash and a bully. He did some good things but was horrendous when it came to dealing with HIV/AIDS.‚ÄĚ
Many New York political observers, however, say Koch‚Äôs overall record as mayor is considered¬†positive for the city and most of its residents. They note that his transformation¬†from a liberal reform politician in the 1960s and 1970s into a moderate and, on some issues, a conservative Democrat when he ran for mayor alienated many liberals, who accused him of betraying the progressive cause. When he ran for his third term as mayor, he won the nomination of both the Democratic and Republican Party in New York.
‚ÄúBy the usual standards measuring a former mayor‚Äôs legacy ‚Äď the city he inherited, the challenges he faced, the resources available to meet those challenges and the extent to which his work endured beyond his term ‚Äď historians and political experts generally give Mr. Koch mixed-to-good reviews,‚ÄĚ the New York Times said in its obituary on Koch.
‚ÄúMost important, he is credited with leading the city government back from near bankruptcy in the 1970s to prosperity in the 1980s,‚ÄĚ the Times obituary says. ‚ÄúHe also began one of the city‚Äôs most ambitious housing programs, which continued after he left office and eventually built or rehabilitated more than 200,000 housing units, revitalizing once-forlorn neighborhoods.‚ÄĚ
A scene from David France‚Äôs harrowing documentary ‚ÄėHow to Survive a Plague.‚Äô The film has its Oscar rendezvous Sunday night at the Dolby Theatre in Hollywood where its up for Best Documentary. (Photo courtesy Sundance Selects)
It sounds so straightforward ‚ÄĒ the New York Public Library had a collection of videotapes AIDS activists made decades ago with vintage camcorders back when they were heavy behemoths you had to rest on your shoulder with full-size VHS or Beta tapes inside. Filmmaker/journalist David France combed painstakingly through the clips to compose his powerful 2012 documentary ‚ÄúHow to Survive a Plague.‚ÄĚ
But how this was achieved ‚ÄĒ what format was the footage stored in? What condition was it in? Could anyone go in and check these out with a library card? How did France pull this off?
In some ways, it‚Äôs the least interesting part of the film‚Äôs story, which is told via a sobering chronology of video footage shot by angry protesters ‚ÄĒ the kind the Religious Right calls ‚Äúmilitant homosexual activists.‚ÄĚ
For ‚ÄúPlauge,‚ÄĚ France took footage ‚ÄĒ some of which was housed at the New York Public Library ‚ÄĒ shot by 31 videographers and paces it chronologically to the story of the formation of ACT UP (AIDS Coalition to Unleash Power), a group that formed in March 1987 in a spirit of extreme frustration during a speech activist (and ‚ÄúNormal Heart‚ÄĚ playwright) Larry Kramer gave at the Lesbian and Gay Community Services Center in New York.
France, during a lengthy phone interview last weekend before he was scheduled to fly to Los Angeles on Tuesday, gladly shares the logistics behind ‚ÄúPlague‚Äôs‚ÄĚ formation.
A veteran investigative journalist, author and GLAAD Media Award winner (for a GQ piece on gays in Iraq) who‚Äôs had his work published in everything from the New Yorker to Ladies‚Äô Home Journal, France says he was a graduate student during the time AIDS hit in the early 1980s and having written about it extensively over the years, he knew activists had brought cameras to their protests. And yes, the process of crafting ‚ÄúPlague‚ÄĚ was a lot more involved than simply checking tapes out of the library.
‚ÄúThe tapes from the library are actually just a small portion of the footage you see in the film,‚ÄĚ France, who‚Äôs gay, says. ‚ÄúThat‚Äôs really the first door I went through, this archive of AIDS activism video that‚Äôs housed in the Manuscript Division of the New York Library, where you go if you want to read Lincoln‚Äôs letters. It‚Äôs an exclusive corner of the library that‚Äôs not accessible to the general public and everybody‚Äôs going around wearing white gloves and handling antiquities. In one corner, they have a television and a VCR and you watch the AIDS footage recorded in those early days. It‚Äôs just raw footage, not really ever intended for public view. Some of it you‚Äôll be watching and all of a sudden it will go to a gay porn video, which just happened to be on the same tape they recorded on.‚ÄĚ
France says the library kept all the tapes ‚ÄĒ recorded in every home video format on the market in those years as one might imagine ‚ÄĒ but had transferred them all to the Betacam SP format, a higher resolution tape on larger cassettes that for years was the broadcast standard and is still in use today. France convinced the library to let him take select footage to a nearby production lab and have it digitized. He ended up with about 100 hours and says the process became difficult as the project moved along.
‚ÄúThey‚Äôre really not accustomed to working on a film production schedule, so trying to get them to hurry got more and more difficult as we went along,‚ÄĚ he says.
And that was just the starting point ‚ÄĒ in the library footage, France saw other people holding video cameras. He started tracking them down one by one and eventually found a group of people, many long-time AIDS survivors themselves, who had videotape footage they had never revisited. Again, formats remained a challenge.
‚ÄúWe had all this stuff in so many different formats from private collections,‚ÄĚ he says. ‚ÄúWe were constantly scouring Craigslist and eBay for decks that would play these old tapes. We ended up with about 800 hours and that really became the building blocks of the film.‚ÄĚ
And yes, France says it did take some persuasion to get these individuals to hand over their footage.
France says, ‚ÄúA lot of these people had moved on but I think now have started to see the real value in this footage. I think they gradually started to realize, that yes, enough time has passed and now is the time to really use it and this is the project.‚ÄĚ
France said his project is timely and important because many of the other landmark AIDS pieces, from Kramer‚Äôs play to Randy Shilts‚Äô ‚ÄúAnd the Band Played On‚ÄĚ were written before the era of anti-retroviral therapy when HIV morphed into a more manageable condition.
He says the film is important for anyone interested in the AIDS fight to see.
‚ÄúThere were even people in ACT UP who didn‚Äôt know the outcomes of many of these things,‚ÄĚ he says. ‚ÄúIf you think you know the story of AIDS, this film will surprise you and that goes for just about everybody.‚ÄĚ
WASHINGTON BLADE: Will this be your first time at the Academy Awards?
DAVID FRANCE: Yes. I‚Äôve never gotten any closer before than my television screen.
BLADE: Have you watched very often over the years?
FRANCE: Oh yeah. My boyfriend and I always have an Oscar party. With ballots and everything. I‚Äôve never won.
BLADE: What‚Äôs your favorite Oscar memory?
FRANCE: Tom Hanks‚Äô acceptance speech when he won for ‚ÄúPhiladelphia.‚ÄĚ That‚Äôs really seared in my memory.
BLADE: What did you think of Michael Moore‚Äôs controversial speech when he won the category you‚Äôre up for? Ballsy or inappropriate for the occasion?
FRANCE: I think if you‚Äôve got an audience of a billion people and you‚Äôve got something to say, you need to say it. That‚Äôs not to say I‚Äôm intending any surprises should I have that opportunity.
BLADE: Have you seen the competition?
FRANCE: Of course. They‚Äôre all brilliant films.
BLADE: If you win, where will you put Oscar?
FRANCE? I‚Äôm not sure. I keep the other awards we‚Äôve won in the production office so everyone on the crew can enjoy them and hopefully see their own contribution but if we get this little gold thing, I‚Äôm not sure. I have no idea.
BLADE: Do you feel AIDS, as horrible as it was and is, put gay issues on the national radar and that ended up being a silver lining to the cloud or is that an absurd oversimplification?
FRANCE? No, it‚Äôs absolutely true. Before that, gay people were entirely disenfranchised and we were not seen as being contributing members to the culture at all. We had no role whatsoever in civic life ‚Ä¶ From those ashes (of AIDS), now we have a president who acknowledges us as human beings and Stonewall is mentioned in the same breath as Seneca Falls.
BLADE: How did you feel when Dustin Lance Black won for ‚ÄúMilk‚ÄĚ?
FRANCE: I felt it was incredible. He gave a great speech and I thought it was a very, very good movie.
BLADE: Did you plan all along to submit it for a nomination? What‚Äôs the process like?
FRANCE: There are all kinds of rules about it playing in New York and L.A. and being reviewed by the New York Times and the Los Angeles Times and that‚Äôs just the first threshold. I was lucky I had a distributor who saw the potential for the film early on and made sure we did everything we needed to do for both the Oscars and the Independent Spirit Awards. ‚Ä¶ Anytime you make a film, sure, you fantasize about getting an Oscar nomination and it‚Äôs really just because you want more people to see it. An Oscar bump is a tremendous thing.
NEW YORK ‚ÄĒ Last appearing in the documentary ‚ÄúHow to Survive a Plague,‚ÄĚ and best known for his work with ACT UP, outspoken AIDS activist Spencer Cox died Tuesday of complications from AIDS. He was 44.
At just 20 years old, Cox became one of the spokespeople for ACT UP in 1989, according to ‚ÄúHow to Survive a Plague‚ÄĚ producer/director David France, first as a member of the Treatment and Data Committee, and later as the founder of the Treatment Action Group. Cox‚Äôs research was sought out by scientists and his proposed drug trial protocol was adopted by the pharmaceutical industry in 1995 during early testing of protease inhibitors.
“Spencer single-handedly sped up the development and marketing of the protease inhibitors, which currently are saving 8 million lives,” said TAG executive director Mark Harrington. “He was absolutely brilliant, just off the charts brilliant.”