Podcasts about aids memorial quilt

Persuasion isn't just for politicians and advertisers—it's a core nursing skill.In this episode of the Emory University series, host Melissa Mills sits down with Dr. Roxana Chicas, Dr. Sharron Close, and recent Emory School of Nursing graduate Sofi Igyan to explore how nurses can use the power of words to influence change from the bedside to the boardroom.Together, they unpack what persuasion really means in health care—how it differs from simple education, and why it's both an art and a science. You'll hear how strategies like knowing your audience, framing messages, leveraging the “power of three,” and using data and stories together can move patients, policymakers, and the public to action.The guests share real-world examples—from farmworker advocacy and climate health, to social media “nurse hacks,” to early-career experiences with therapeutic communication and mental health. They also dig into storytelling tools like the AIDS Memorial Quilt and the legacy of Cesar Chavez to show how narrative can humanize complex issues, build empathy, and shift policy.Whether you're a new graduate nurse, bedside nurse, educator, or emerging nurse leader, this episode will help you:Claim your voice as a communicator and advocateUse persuasion ethically and effectivelyTurn everyday conversations into opportunities for impactListen in and rediscover your words as one of the most powerful tools you have as a nurse.>>Unlocking the Power of Persuasion in Your Nursing CareerJump Ahead to Listen: [00:01:39] Persuasion in nursing communication. [00:05:03] Core components of effective persuasion. [00:09:14] Applying persuasive strategies in community settings. [00:14:26] How nurses can influence public perception through media. [00:18:09] The power of storytelling. [00:20:40] Stories that drive meaningful change in healthcare. [00:25:28] Creativity as a communication tool for nurses. [00:30:05] Using multimedia platforms to expand reach. [00:34:02] Elevating patient voices in care and advocacy. [00:37:54] Fostering communication confidence among nurses. [00:44:42] Creating space for vulnerability in nursing culture. [00:48:13] Building confidence in clinical and professional expertise. [00:50:13] Developing therapeutic communication skills. [00:54:46] Embracing lifelong learning in nursing practice. For more information, full transcript and videos visit Nurse.org/podcastJoin our newsletter at nurse.org/joinInstagram: @nurse_orgTikTok: @nurse.orgFacebook: @nurse.orgYouTube: Nurse.org

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight's show features Asian Refugees United and Lavender Phoenix in conversation about art, culture, and organizing, and how artists help us imagine and build liberation. Important Links: Lavender Phoenix: Website | Instagram Asian Refugees United: Website | Instagram | QTViệt Cafe Collective Transcript: Cheryl: Hey everyone. Good evening. You tuned in to APEX Express. I'm your host, Cheryl, and tonight is an AACRE Night. AACRE, which is short for Asian Americans for Civil Rights and Equality is a network made up of 11 Asian American social justice organizations who work together to build long-term movements for justice. Across the AACRE network, our groups are organizing against deportations, confronting anti-blackness, xenophobia, advancing language justice, developing trans and queer leaders, and imagine new systems of safety and care. It's all very good, very important stuff. And all of this from the campaigns to the Organizing to Movement building raises a question that I keep coming back to, which is, where does art live In all of this, Acts of resistance do not only take place in courtrooms or city halls. It takes place wherever people are still able to imagine. It is part of how movements survive and and grow. Art is not adjacent to revolution, but rather it is one of its most enduring forms, and tonight's show sits in that very spirit, and I hope that by the end of this episode, maybe you'll see what I mean. I;d like to bring in my friends from Lavender Phoenix, a trans queer API organization, building people power in the Bay Area, who are also a part of the AACRE Network. This summer, Lavender Phoenix held a workshop that got right to the heart of this very question that we're sitting with tonight, which is what is the role of the artist in social movements? As they were planning the workshop, they were really inspired by a quote from Toni Cade Bambara, who in an interview from 1982 said, as a cultural worker who belongs to an oppressed people, my job is to make the revolution irresistible. So that raises a few questions worth slowing down for, which are, who was Toni Cade Bambara? What does it mean to be a cultural organizer and why does that matter? Especially in this political moment? Lavender Phoenix has been grappling with these questions in practice, and I think they have some powerful answers to share. So without further ado, I'd like to introduce you to angel who is a member of Lavender Phoenix. Angel: My name is Angel. I use he and she pronouns, and I'm part of the communications committee at LavNix. So, let's explore what exactly is the meaning of cultural work.  Cultural workers are the creators of narratives through various forms of artistic expression, and we literally drive the production of culture. Cultural work reflects the perspectives and attitudes of artists and therefore the people and communities that they belong to. Art does not exist in a vacuum. You may have heard the phrase before. Art is always political. It serves a purpose to tell a story, to document the times to perpetuate and give longevity to ideas. It may conform to the status quo or choose to resist it. I wanted to share a little bit about one cultural worker who's made a really big impact and paved the way for how we think about cultural work and this framework. Toni Cade Bambara was a black feminist, cultural worker, writer, and organizer whose literary work celebrated black art, culture and life, and radically supported a movement for collective liberation. She believed that it's the artist's role to serve the community they belong to, and that an artist is of no higher status than a factory worker, social worker, or teacher. Is the idea of even reframing art making as cultural work. Reclaimed the arts from the elite capitalist class and made clear that it is work, it does not have more value than or take precedence over any other type of movement work. This is a quote from an interview from 1982 when Toni Cade Bambara said, as a cultural worker who belongs to an oppressed people, my job is to make revolution irresistible. But in this country, we're not encouraged and equipped at any particular time to view things that way. And so the artwork or the art practice that sells that capitalist ideology is considered art. And anything that deviates from that is considered political, propagandist, polemical, or didactic, strange, weird, subversive or ugly. Cheryl: After reading that quote, angel then invited the workshop participants to think about what that means for them. What does it mean to make the revolution irresistible? After giving people a bit of time to reflect, angel then reads some of the things that were shared in the chat. Angel: I want my art to point out the inconsistencies within our society to surprised, enraged, elicit a strong enough reaction that they feel they must do something. Cheryl: Another person said, Angel: I love that art can be a way of bridging relationships. Connecting people together, building community. Cheryl: And someone else said. Angel: I want people to feel connected to my art, find themselves in it, and have it make them think and realize that they have the ability to do something themselves. Cheryl: I think what is rather striking in these responses that Angel has read aloud to what it means to make art that makes the revolution irresistible isn't just aesthetics alone, but rather its ability to help us connect and communicate and find one another to enact feelings and responses in each other. It's about the way it makes people feel implicated and connected and also capable of acting. Tony Cade Bambara when she poses that the role of cultural workers is to make the revolution irresistible is posing to us a challenge to tap into our creativity and create art that makes people unable to return comfortably to the world as is, and it makes revolution necessary, desirable not as an abstract idea, but as something people can want and move towards  now I'm going to invite Jenica, who is the cultural organizer at Lavender Phoenix to break down for us why we need cultural work in this political moment. . Speaker: Jenica: So many of us as artists have really internalized the power of art and are really eager to connect it to the movement.  This section is about answering this question of why is cultural work important.  Cultural work plays a really vital role in organizing and achieving our political goals, right? So if our goal is to advance radical solutions to everyday people, we also have to ask ourselves how are we going to reach those peoples? Ideas of revolution and liberation are majorly inaccessible to the masses, to everyday people. Families are being separated. Attacks on the working class are getting worse and worse. How are we really propping up these ideas of revolution, especially right in America, where propaganda for the state, for policing, for a corrupt government runs really high. Therefore our messaging in political organizing works to combat that propaganda. So in a sense we have to make our own propaganda. So let's look at this term together. Propaganda is art that we make that accurately reflects and makes people aware of the true nature of the conditions of their oppression and inspires them to take control of transforming this condition. We really want to make art that seeks to make the broader society aware of its implications in the daily violences, facilitated in the name of capitalism, imperialism, and shows that error of maintaining or ignoring the status quo. So it's really our goal to arm people with the tools to better struggle against their own points of views, their ways of thinking, because not everyone is already aligned with like revolution already, right? No one's born an organizer. No one's born 100% willing to be in this cause. So, we really focus on the creative and cultural processes, as artists build that revolutionary culture. Propaganda is really a means of liberation. It's an instrument to help clarify information education and a way to mobilize our people. And not only that, our cultural work can really model to others what it's like to envision a better world for ourselves, right? Our imagination can be so expansive when it comes to creating art. As organizers and activists when we create communication, zines, et cetera, we're also asking ourselves, how does this bring us one step closer to revolution? How are we challenging the status quo? So this is exactly what our role as artists is in this movement. It's to create propaganda that serves two different purposes. One, subvert the enemy and cultivate a culture that constantly challenges the status quo. And also awaken and mobilize the people. How can we, through our art, really uplift the genuine interests of the most exploited of people of the working class, of everyday people who are targets of the state and really empower those whose stories are often kept outside of this master narrative. Because when they are talked about, people in power will often misrepresent marginalized communities. An example of this, Lavender Phoenix, a couple years ago took up this campaign called Justice for Jaxon Sales. Trigger warning here, hate crime, violence against queer people and death. Um, so Jaxon Sales was a young, queer, Korean adoptee living in the Bay Area who went on a blind like dating app date and was found dead the next morning in a high-rise apartment in San Francisco. Lavender Phoenix worked really closely and is still connected really closely with Jaxon's parents, Jim and Angie Solas to really fight, and organize for justice for Jaxon and demand investigation into what happened to him and his death, and have answers for his family. I bring that up, this campaign because when his parents spoke to the chief medical examiner in San Francisco, they had told his family Jaxon died of an accidental overdose he was gay. Like gay people just these kinds of drugs. So that was the narrative that was being presented to us from the state. Like literally, their own words: he's dead because he's gay. And our narrative, as we continue to organize and support his family, was to really address the stigma surrounding drug use. Also reiterating the fact that justice was deserved for Jaxon, and that no one should ever have to go through this. We all deserve to be safe, that a better world is possible. So that's an example of combating the status quo and then uplifting the genuine interest of our people and his family. One of our key values at Lavender Phoenix is honoring our histories, because the propaganda against our own people is so intense. I just think about the everyday people, the working class, our immigrant communities and ancestors, other queer and trans people of color that really fought so hard to have their story told. So when we do this work and think about honoring our histories, let's also ask ourselves what will we do to keep those stories alive? Cheryl: We're going to take a quick music break and listen to some music by Namgar, an international ethno music collective that fuses traditional Buryat and Mongolian music with pop, jazz, funk, ambient soundscapes, and art- pop. We'll be back in just a moment with more after we listen to “part two” by Namgar.    Cheryl: Welcome back.  You are tuned in to APEX express on 94.1 KPFA and 89.3 KPFB B in Berkeley and online at kpfa.org.  That song you just heard was “part two” by Namgar, an incredible four- piece Buryat- Mongolian ensemble that is revitalizing and preserving the Buryat language and culture through music. For those just tuning in tonight's episode of APEX Express is all about the role of the artist in social movements. We're joined by members of Lavender Phoenix, often referred to as LavNix, which is a grassroots organization in the Bay Area building Trans and queer API Power. You can learn more about their work in our show notes. We talked about why cultural work is a core part of organizing. We grounded that conversation in the words of Toni Cade Bambara, who said in a 1982 interview, as a cultural worker who belongs to an oppressed people, my job is to make revolution irresistible. We unpacked what that looks like in practice and lifted up Lavender Phoenix's Justice for Jaxon Sales campaign as a powerful example of cultural organizing, which really demonstrates how art and narrative work and cultural work are essential to building power Now Jenica from Levner Phoenix is going to walk us through some powerful examples of cultural organizing that have occurred in social movements across time and across the world. Speaker: Jenica: Now we're going to look at some really specific examples of powerful cultural work in our movements. For our framework today, we'll start with an international example, then a national one, a local example, and then finally one from LavNix. As we go through them, we ask that you take notes on what makes these examples, impactful forms of cultural work. How does it subvert the status quo? How is it uplifting the genuine interest of the people? Our international example is actually from the Philippines. Every year, the Corrupt Philippines president delivers a state of the nation address to share the current conditions of the country. However, on a day that the people are meant to hear about the genuine concrete needs of the Filipino masses, they're met instead with lies and deceit that's broadcasted and also built upon like years of disinformation and really just feeds the selfish interests of the ruling class and the imperialist powers. In response to this, every year, BAYAN, which is an alliance in the Philippines with overseas chapters here in the US as well. Their purpose is to fight for the national sovereignty and genuine democracy in the Philippines, they hold a Peoples' State of the Nation Address , or PSONA, to protest and deliver the genuine concerns and demands of the masses. So part of PSONA are effigies. Effigies have been regular fixtures in protest rallies, including PSONA. So for those of you who don't know, an effigy is a sculptural representation, often life size of a hated person or group. These makeshift dummies are used for symbolic punishment in political protests, and the figures are often burned. In the case of PSONA, these effigies are set on fire by protestors criticizing government neglect, especially of the poor. Lisa Ito, who is a progressive artists explained that the effigy is constructed not only as a mockery of the person represented, but also of the larger system that his or her likeness embodies. Ito pointed out that effigies have evolved considerably as a form of popular protest art in the Philippines, used by progressive people's movements, not only to entertain, but also to agitate, mobilize and capture the sentiments of the people. This year, organizers created this effigy that they titled ‘ZomBBM,' ‘Sara-nanggal' . This is a play on words calling the corrupt president of the Philippines, Bongbong Marcos, or BBM, a zombie. And the vice president Sara Duterte a Manananggal, which is a, Filipino vampire to put it in short, brief words. Organizers burnt this effigy as a symbol of DK and preservation of the current ruling class. I love this effigy so much. You can see BBM who's depicted like his head is taken off and inside of his head is Trump because he's considered like a puppet president of the Philippines just serving US interests. Awesome. I'm gonna pass it to Angel for our national perspective. Angel: Our next piece is from the national perspective and it was in response to the AIDS crisis. The global pandemic of HIV AIDS began in 1981 and continues today. AIDS is the late stage of HIV infection, human immunodeficiency virus, and this crisis has been marked largely by government indifference, widespread stigma against gay people, and virtually no federal funding towards research or services for everyday people impacted. There was a really devastating lack of public attention about the seriousness of HIV. The Ronald Reagan administration treated the crisis as a joke because of its association with gay men, and Reagan didn't even publicly acknowledge AIDS until 19 85, 4 years into the pandemic. Thousands of HIV positive people across backgrounds and their supporters organize one of the most influential patient advocacy groups in history. They called themselves the AIDS Coalition to Unleash Power or ACT up. They ultimately organize and force the government and the scientific community to fundamentally change the way medical research is conducted. Paving the way for the discovery of a treatment that today keeps alive, an estimated half million HIV positive Americans and millions more worldwide. Sarah Schulman, a writer and former member of ACT Up, wrote a list of ACT UPS achievements, including changing the CDC C'S definition of aids to include women legalizing needle exchange in New York City and establishing housing services for HIV positive unhoused people. To highlight some cultural work within ACT Up, the AIDS activist artist Collective Grand Fury formed out of ACT Up and CR and created works for the public sphere that drew attention to the medical, moral and public issues related to the AIDS crisis. Essentially, the government was fine with the mass deaths and had a large role in the active killing off of people who are not just queer, but people who are poor working class and of color. We still see parallels in these roadblocks. Today, Trump is cutting public healthcare ongoing, and in recent memory, the COVID crisis, the political situation of LGBTQ people then and now is not divorced from this class analysis. So in response, we have the AIDS Memorial Quilt, this collective installation memorializes people who died in the US from the AIDS crisis and from government neglect. Each panel is dedicated to a life lost and created by hand by their friends, family, loved ones, and community. This artwork was originally conceived by Cleve Jones in SF for the 1985 candlelight March, and later it was expanded upon and displayed in Washington DC in 1987. Its enormity demonstrated the sheer number at which queer folk were killed in the hiv aids crisis, as well as created a space in the public for dialogue about the health disparities that harm and silence our community. Today, it's returned home to San Francisco and can be accessed through an interactive online archive. 50,000 individual panels and around a hundred thousand names make up the patchwork quilt, which is insane, and it's one of the largest pieces of grassroots community art in the world. Moving on to a more local perspective. In the Bay Area, we're talking about the Black Panther Party. So in October of 1966 in Oakland, California, Huey Newton and Bobby Seale founded the Black Panther Party for self-defense. The Panthers practiced militant self-defense of black communities against the US government and fought to establish socialism through organizing and community-based programs. The Black Panthers began by organizing arm patrols of black people to monitor the Oakland Police Department and challenge rampant rampant police brutality. At its peak, the party had offices in 68 cities and thousands of members. The party's 10 point program was a set of demands, guidelines, and values, calling for self-determination, full employment of black people, and the end of exploitation of black workers housing for all black people, and so much more. The party's money programs directly addressed their platform as they instituted a free B Breakfast for Children program to address food scarcity Founded community health clinics to address the lack of adequate, adequate healthcare for black people and treat sickle cell anemia, tuberculosis, and HIV aids and more. The cultural work created by the Black Panther Party included the Black Panther Party newspaper known as the Black Panther. It was a four page newsletter in Oakland, California in 1967. It was the main publication of the party and was soon sold in several large cities across the US as well as having an international readership. The Black Panther issue number two. The newspaper, distributed information about the party's activities and expressed through articles, the ideology of the Black Panther Party, focusing on both international revolutions as inspiration and contemporary racial struggles of African Americans across the United States. Solidarity with other resistance movements was a major draw for readers. The paper's international section reported on liberation struggles across the world. Under Editor-in-Chief, David Du Bois, the stepson of WEB Du Bois, the section deepened party support for revolutionary efforts in South Africa and Cuba. Copies of the paper traveled abroad with students and activists and were tra translated into Hebrew and Japanese. It reflected that the idea of resistance to police oppression had spread like wildfire. Judy Juanita, a former editor in Chief Ads, it shows that this pattern of oppression was systemic. End quote. Paper regularly featured fiery rhetoric called out racist organizations and was unabashed in its disdain for the existing political system. Its first cover story reported on the police killing of Denzel Doel, a 22-year-old black man in Richmond, California. In all caps, the paper stated, brothers and sisters, these racist murders are happening every day. They could happen to any one of us. And it became well known for its bold cover art, woodcut style images of protestors, armed panthers, and police depicted as bloodied pigs. Speaker: Jenica: I'm gonna go into the LavNix example of cultural work that we've done. For some context, we had mentioned that we are taking up this campaign called Care Not Cops. Just to give some brief background to LavNix, as systems have continued to fail us, lavender Phoenix's work has always been about the safety of our communities. We've trained people in deescalation crisis intervention set up counseling networks, right? Then in 2022, we had joined the Sales family to fight for justice for Jaxon Sales. And with them we demanded answers for untimely death from the sheriff's department and the medical examiner. Something we noticed during that campaign is that every year we watch as people in power vote on another city budget that funds the same institutions that hurt our people and steal money from our communities. Do people know what the budget is for the San Francisco Police Department? Every year, we see that city services and programs are gutted. Meanwhile, this year, SFPD has $849 million, and the sheriff has $345 million. So, honestly, policing in general in the city is over $1 billion. And they will not experience any cuts. Their bloated budgets will remain largely intact. We've really been watching, Mayor Lurie , his first months and like, honestly like first more than half a year, with a lot of concern. We've seen him declare the unlawful fentanyl state of emergency, which he can't really do, and continue to increase police presence downtown. Ultimately we know that mayor Lurie and our supervisors need to hear from us everyday people who demand care, not cops. So that leads me into our cultural work. In March of this year, lavender Phoenix had collaborated with youth organizations across the city, youth groups from Chinese Progressive Association, PODER, CYC, to host a bilingual care, not cops, zine making workshop for youth. Our organizers engaged with the youth with agitating statistics on the egregious SFPD budget, and facilitated a space for them to warm up their brains and hearts to imagine a world without prisons and policing. And to really further envision one that centers on care healing for our people, all through art. What I really learned is that working class San Francisco youth are the ones who really know the city's fascist conditions the most intimately. It's clear through their zine contributions that they've really internalized these intense forms of policing in the schools on the streets with the unhoused, witnessing ice raids and fearing for their families. The zine was really a collective practice with working class youth where they connected their own personal experiences to the material facts of policing in the city, the budget, and put those experiences to paper.   Cheryl: Hey everyone. Cheryl here. So we've heard about Effigies in the Philippines, the AIDS Memorial Quilt, the Black Panther Party's newspaper, the Black Panther and Lavender Phoenix's Care Cop zine. Through these examples, we've learned about cultural work and art and narrative work on different scales internationally, nationally, locally and organizationally. With lavender Phoenix. What we're seeing is across movements across time. Cultural work has always been central to organizing. We're going to take another music break, but when we return, I'll introduce you to our next speaker. Hai, from Asian Refugees United, who will walk us through, their creative practice, which is food, as a form of cultural resistance, and we'll learn about how food ways can function as acts of survival, resistance, and also decolonization. So stay with us more soon when we return.   Cheryl: And we're back!!. You're listening to APEX express on 94.1 KPFA, 89.3 KPFB in Berkeley. 88.1. KFCF in Fresno and online@kpfa.org. That was “Juniper” by Minjoona, a project led by Korean American musician, Jackson Wright.  huge thanks to Jackson and the whole crew behind that track.  I am here with Hai from Asian Refugees United, who is a member QTViet Cafe Collective. A project under Asian Refugees United. QTViet Viet Cafe is a creative cultural hub that is dedicated to queer and trans viet Liberation through ancestral practices, the arts and intergenerational connection. This is a clip from what was a much longer conversation. This episode is all about the role of the artist in social movements and I think Hai brings a very interesting take to the conversation. Hai (ARU): I think that what is helping me is one, just building the muscle. So when we're so true to our vision and heart meets mind and body. So much of what QTViet Cafe is, and by extension Asian refugees and like, we're really using our cultural arts and in many ways, whether that's movement or poetry or written word or song or dance. And in many ways I've had a lot of experience in our food ways, and reclaiming those food ways. That's a very embodied experience. We're really trying to restore wholeness and health and healing in our communities, in our bodies and our minds and our families and our communities that have been displaced because of colonization, imperialism, capitalism. And so how do we restore, how do we have a different relationship and how do we restore? I think that from moving from hurt to healing is life and art. And so we need to take risk and trying to define life through art and whatever means that we can to make meaning and purpose and intention. I feel like so much of what art is, is trying to make meaning of the hurt in order to bring in more healing in our lives. For so long, I think I've been wanting a different relationship to food. For example, because I grew up section eight, food stamps, food bank. My mom and my parents doing the best they could, but also, yeah, grew up with Viet food, grew up with ingredients for my parents making food, mostly my mom that weren't necessarily all the best. And I think compared to Vietnam, where it's easier access. And there's a different kind of system around, needs around food and just easier access, more people are involved around the food system in Vietnam I think growing up in Turtle Island and seeing my parents struggle not just with food, but just with money and jobs it's just all connected. And I think that impacted my journey and. My own imbalance around health and I became a byproduct of diabetes and high cholesterol and noticed that in my family. So when I noticed, when I had type two diabetes when I was 18, made the conscious choice to, I knew I needed to have some type of, uh, I need to have a different relationship to my life and food included and just like cut soda, started kind of what I knew at the time, exercising as ways to take care of my body. And then it's honestly been now a 20 year journey of having a different relationship to not just food, but health and connection to mind, body, spirit. For me, choosing to have a different relationship in my life, like that is a risk. Choosing to eat something different like that is both a risk and an opportunity. For me that's like part of movement building like you have to. Be so in tune with my body to notice and the changes that are needed in order to live again. When I noticed, you know, , hearing other Viet folks experiencing diet related stuff and I think knowing what I know also, like politically around what's happening around our food system, both for the vie community here and also in Vietnam, how do we, how can this regular act of nourishing ourselves both be not just in art, something that should actually just honestly be an everyday need and an everyday symbol of caregiving and caretaking and care that can just be part of our everyday lives. I want a world where, it's not just one night where we're tasting the best and eating the best and being nourished, just in one Saturday night, but that it's just happening all the time because we're in right relationship with ourselves and each other and the earth that everything is beauty and we don't have to take so many risks because things are already in its natural divine. I think it takes being very conscious of our circumstances and our surroundings and our relationships with each other for that to happen. I remember reading in my early twenties, reading the role of, bring Coke basically to Vietnam during the war. I was always fascinated like, why are, why is Coke like on Viet altars all the time? And I always see them in different places. Whenever I would go back to Vietnam, I remember when I was seven and 12. Going to a family party and the classic shiny vinyl plastic, floral like sheet on a round table and the stools, and then these beautiful platters of food. But I'm always like, why are we drinking soda or coke and whatever else? My dad and the men and then my family, like drinking beer. And I was like, why? I've had periods in my life when I've gotten sick, physically and mentally sick. Those moments open up doors to take the risk and then also the opportunity to try different truth or different path. When I was 23 and I had just like crazy eczema and psoriasis and went back home to my parents for a while and I just started to learn about nourishing traditions, movement. I was Very critical of the us traditional nutrition ideas of what good nutrition is and very adamantly like opposing the food pyramid. And then in that kind of research, I was one thinking well, they're talking about the science of broths and like soups and talking about hard boiling and straining the broth and getting the gunk on the top. And I'm like, wait, my mom did that. And I was starting to connect what has my mom known culturally that now like science is catching up, you know? And then I started just reading, you know, like I think that my mom didn't know the sign mom. I was like, asked my mom like, did you know about this? And she's like, I mean, I just, this is, is like what ba ngoai said, you know? And so I'm like, okay, so culturally this, this is happening scientifically. This is what's being shared. And then I started reading about the politics of US-centric upheaval of monocultural agriculture essentially. When the US started to do the industrial Revolution and started to basically grow wheat and soy and just basically make sugar to feed lots of cows and create sugar to be put in products like Coke was one of them. And, and then, yeah, that was basically a way for the US government to make money from Vietnam to bring that over, to Vietnam. And that was introduced to our culture. It's just another wave of imperialism and colonization. And sadly, we know what, overprocessed, like refined sugars can do to our health. And sadly, I can't help but make the connections with what happened. In many ways, food and sugar are introduced through these systems of colonization and imperialism are so far removed from what we ate pre colonization. And so, so much of my journey around food has been, you know, it's not even art, it's just like trying to understand, how do we survive and we thrive even before so many. And you know, in some ways it is art. 'cause I making 40 pounds of cha ga for event, , the fish cake, like, that's something that, that our people have been doing for a long time and hand making all that. And people love the dish and I'm really glad that people enjoyed it and mm, it's like, oh yeah, it's art. But it's what people have been doing to survive and thrive for long, for so long, you know? , We have the right to be able to practice our traditional food ways and we have the right for food sovereignty and food justice. And we have the right to, by extension, like have clean waters and hospitable places to live and for our animal kin to live and for our plant kin to be able to thrive. bun cha ga, I think like it's an artful hopeful symbol of what is seasonal and relevant and culturally symbolic of our time. I think that, yes, the imminent, violent, traumatic war that are happening between people, in Vietnam and Palestine and Sudan. Honestly, like here in America. That is important. And I think we need to show, honestly, not just to a direct violence, but also very indirect violence on our bodies through the food that we're eating. Our land and waters are living through indirect violence with just like everyday pollutants and top soil being removed and industrialization. And so I think I'm just very cognizant of the kind of everyday art ways, life ways, ways of being that I think that are important to be aware of and both practice as resistance against the forces that are trying to strip away our livelihood every day. Cheryl: We just heard from Hai of Asian refugees United who shared about how food ways function as an embodied form of cultural work that is rooted in memory and also survival and healing. Hai talked about food as a practice and art that is lived in the body and is also shaped by displacement and colonization and capitalism and imperialism. I shared that through their journey with QTV at Cafe and Asian Refugees United. High was able to reflect on reclaiming traditional food ways as a way to restore health and wholeness and relationship to our bodies and to our families, to our communities, and to the earth. High. Also, traced out illness and imbalance as deeply connected to political systems that have disrupted ancestral knowledge and instead introduced extractive food systems and normalized everyday forms of soft violence through what we consume and the impact it has on our land. And I think the most important thing I got from our conversation was that high reminded us that nourishing ourselves can be both an act of care, an art form, and an act of resistance. And what we call art is often what people have always done to survive and thrive Food. For them is a practice of memory, and it's also a refusal of erasure and also a very radical vision of food sovereignty and healing and collective life outside of colonial violence and harm. As we close out tonight's episode, I want to return to the question that has guided us from the beginning, which is, what is the role of the artist in social movements? What we've heard tonight from Tony Cade Bambara call to make revolution irresistible to lavender Phoenix's cultural organizing here, internationally to Hai, reflections on food ways, and nourishing ourselves as resistance. It is Really clear to me. Art is not separate from struggle. It is how people make sense of systems of violence and carry memory and also practice healing and reimagining new worlds in the middle of ongoing violence. Cultural work helps our movements. Endure and gives us language when words fail, or ritual when grief is heavy, and practices that connect us, that reconnect us to our bodies and our histories and to each other. So whether that's through zines, or songs or murals, newspapers, or shared meals, art is a way of liberation again and again. I wanna thank all of our speakers today, Jenica, Angel. From Lavender Phoenix. Hi, from QTV Cafe, Asian Refugees United, And I also wanna thank you, our listeners for staying with us. You've been listening to Apex Express on KPFA. Take care of yourselves, take care of each other, and keep imagining the world that we're trying to build. That's important stuff. Cheryl Truong (she/they): Apex express is produced by Miko Lee, Paige Chung, Jalena Keane-Lee, Preeti Mangala Shekar. Shekar, Anuj Vaidya, Kiki Rivera, Swati Rayasam, Nate Tan, Hien Nguyen, Nikki Chan, and Cheryl Truong  Cheryl Truong: Tonight's show was produced by me, cheryl. Thanks to the team at KPFA for all of their support. And thank you for listening!  The post APEX Express – January 1, 2026 – The Role of the Artist in Social Movements appeared first on KPFA.

Philip visits Tate Modern to view the AIDS Memorial Quilt and interviews some well known activists and celebrities, an instagram video of his interviews is on the front page of www.HIVHour.org.uk. On a theme of quilts, we also replay the call to submit selfies to the U=U quilt project from Positive East, https://www.positiveeast.org.uk/uequalsu/  Stephen joins us on Zoom from New York and tells us about his Shadowed Dreamer return to off broadway for the first time in 16 years. Sue celebrates the success of  the Terrence Higgins Trust “Can't pass it on” campaign that piloted in Brighton. Music is from Frankie Goes to Hollywood, Neneh Cherry and Faithless Community news about Dragsy Malone, and Rose Garden's Swap Shop, fundraisers for the Sussex Beacon at Queens Arms. Also a reminder of Lunch Positives Eastbourne group, Tuesday drop ins and Friday Lunch Club

The Dulwich Picture Gallery, the UK's first purpose-built public art gallery, is hosting an exhibition of one of Britain's brightest young painting talents, Rachel Jones. Ben Luke visits the gallery to talk to her about the paintings—giant and tiny—in the show. The latest Liverpool Biennial has just opened in that great British city; Louisa Buck, The Art Newspaper's contemporary art correspondent, joins Ben to review the show. And this episode's Work of the Week, is the UK Aids Memorial Quilt, which was instigated in 1989 and commemorates the lives of 384 individuals affected by HIV and Aids. It is made up of 42 quilts made from multiple panels and a further 23 individual panels. The quilt is being shown at Tate Modern this weekend, and we speak to the writer Charlie Porter, who included the quilt in his recent novel Nova Scotia House and instigated the project to show it at Tate.Rachel Jones: Gated Canyons, Dulwich Picture Gallery, London, until 19 October.Liverpool Biennial: BEDROCK, until 14 September.The UK Aids Memorial Quilt, Tate Modern, until 16 June; Charlie Porter, Nova Scotia House, Penguin, £18.99; US: Nightboat Books, 21 October, $17.95. Hosted on Acast. See acast.com/privacy for more information.

America is under attack by the wolves in the federal government who are chewing it apart. As the nation spirals into confusion and despair, we are left wondering—why does it feel like no one is fighting back?As Harvey Milk said, “Get out of the bars and into the streets!” Now more than ever, we need to step away from our screens, show up in public spaces, and organize. In the absence of leadership, it's up to all of us to lead.As a protégé of Harvey Milk, Cleve Jones became a key figure in the gay rights movement in the ‘70s and he became the creator of the AIDS Memorial Quilt, one of history's most powerful public memorials. Cleve's activism spans decades, from fighting the Reagan administration's neglect of the AIDS crisis to today's labor rights battles.Listen as we take a look at: • AIDS denialist Robert Kennedy Jr. as Trump's Secretary of Health.• Why language matters, let's stop calling Democrats "Dems."• Why grassroots movements need to come out of the closet to organize effectively.

Thank you for listening to this track produced by the Art Gallery of South Australia. Join Tim Roberts, Curator at The David Roche Foundation and researcher of LGBTQ+ memory, as he discusses the AIDS memorial quilt on display in Radical Textiles. For more information visit agsa.sa.gov.au Photo: Rob Spark

The Canadian AIDS Memorial Quilt is an icon of AIDS activism and an important symbol to memorialize those who died of the disease. One of its panel will be on display in Saint John for the first time this month. James Edwards of AIDS New Brunswick speaks with host Steven Webb about the significance of this quilt.

Periodically, the crew at I'm Feeling Queer Today will share episodes from like-minded podcasts that they love.Alex Masse presents our very first feed swap, and we are honored to be sharing a special edition episode from the Queer News, an intersectional approach to a weekly news podcast where race & sexuality meet politics, entertainment and culture.This episode is called Change the Pattern: The AIDS Quilt Travels the South with Purpose, and you'll get to hear Anna share her experience covering the 35th Anniversary of the AIDS Memorial Quilt in San Francisco, and the emotional impact of viewing it up close and personal for the first time.Further, the episode highlights the staggering reality that, while the South comprises only 38% of the US population, it represents over HALF of all new HIV diagnoses.You'll also learn about the Call My Name Project, a program that ensures the stories of Black and Brown lives lost to HIV/AIDS are honored with panels on the AIDS Memorial Quilt.Now you may be asking why the South? The South comprises 38% of the U.S. population but it represents over half, yes over half at 52% of all new HIV diagnoses. Let me drop another stat on you. Out of the 17 states defined as being in the South by the U.S. Census; 13 of them have HIV-Specific Criminal Laws or Statutes on the books & 11 of them have actually prosecuted people for living with HIV. HIV Criminalization is still real. I'm sharing these stats because you need to know. I didn't know and we must change the pattern.CONTENT/CONTENT WARNINGS00:00 – Welcome & Intro 00:34 – Palm Springs Ad 01:23 – Purple Tie Affair 01:52 – Change The Pattern 04:02 – Jada 04:47 – Call My Name 05:52 – SLR 09:16 – The Quilt 10:56 – Mark Your Calendars 12:39 – OutroJoin the QCrew & Support the Queer News podcast https://bit.ly/3L3Ng66

Support the Show.

We're ending season 5 with the second part of our Quilting Through the Ages episode! In this episode, we focus on popular quilts throughout the ages, ranging from the Young family's quilts made in the late 1800s to the AIDS Memorial Quilt and quilts made by Rohingya women refugees.  Follow the pod at @AsianSewistCollective on Instagram. For show notes and a transcript of this episode, please see: https://asiansewistcollective.com/episode-55-quilting-through-the-ages-part-2/  If you find our podcast informative and enjoy listening, you can support us by buying our limited edition merch, joining our monthly membership or making a one-time donation via Ko-Fi: https://ko-fi.com/asiansewistcollective 

In our 900th episode, we speak with people involved with Well Well Well over the years as well as the AIDS Memorial Quilt project. John "Jack" Hall, David Menadue, Alison Thorne and Phil Carswell join Cal for this episode airing the day before World AIDS Day 2023. In light of World AIDS Day, we also spoke with doctors with expertise in HIV/AIDS care and research, alongside community members who were part of Thorne Harbour Health's new HIV Still Matters campaign. You can watch their stories here. Check out our other JOY Podcasts for more on LGBTIQ+ health & wellbeing. If there's something you'd like us to explore on the show, send through ideas or questions at wellwellwell@joy.org.au Find out more about LGBTIQ+ services and events in Victoria at Thorne Harbour Health and in South Australia at SAMESH.

In this special bonus episode, Commissioner McDonald and Acting Executive Deputy Commissioner Morne talk about the Department of Health's AIDS Institute and their Ending the Epidemic Summit and World AIDS Day 2023 commemoration with Joe Kerwin, Director of the AIDS Institute and Stephanie McHugh from the Office of Planning and Community Affairs at the AIDS Institute.An annual feature of World AIDS Day and the ETE Summit are panels from the AIDS Memorial Quilt. For those unable to attend the commemoration in person, they may view panels of the quilt virtually through a keyword-searchable website: aidsmemorial.org/interactive-aids-quiltIf you have an idea for topics we should discuss, please let us know: PublicHealthNowPodcast@health.ny.gov

In this week's episode, Patrick and Tommie discuss the Israel-Hamas war, learn about canine vaccine hesitancy, meet the Magyar Agar, celebrate the greatest First Lady and the meanest man in Broadway history, review the history of Cleve Jones and the AIDS Memorial Quilt, relate their own stories on National Coming Out Day, discover something new about American Revolution war hero General Casimir Pulaski, review a case that challenges a state's conversion therapy ban, get frustrated over congressional dysfunction, and name their favorite depictions of queer people coming out.

Macca and Misha are joined live on air by Simon Ruth, THH and Dr Marina Larsson, Historian & Principal Assessor at Heritage Victoria as they discuss 2022 Thorne Harbour Health... LEARN MORE The post The 2022 Thorne Harbour Health Awards. Melbourne AIDS Memorial Quilt appeared first on Saturday Magazine.

October 11, 1987. During a national march on Washington for Lesbian and Gay Rights, demonstrators unveil the AIDS Memorial Quilt, drawing national attention to the epidemic's growing death toll. Learn more about your ad choices. Visit megaphone.fm/adchoices

Cleve Jones is an LGBT+ activist who initiated the NAMES Project AIDS Memorial Quilt, an endeavor that brought attention to the AIDS epidemic in the 80s through 90s. This history is not taught in our schools so we are very honored to talk about it with the man who was a true pioneer in bringing us all together. We remember the Aids Memorial Quilt and the impact it still has on our community as we weather the AIDS crises.

Cleve Jones is an LGBT+ activist who initiated the NAMES Project AIDS Memorial Quilt, an endeavor that brought attention to the AIDS epidemic in the 80s through 90s. This history is not taught in our schools so we are very honored to talk about it with the man who was a true pioneer in bringing us all together. We remember the Aids Memorial Quilt and the impact it still has on our community as we weather the AIDS crises.

The largest display of the AIDS Memorial Quilt in ten years took place in San Francisco's Golden Gate Park in June. Now the quilt is being taken on the road to the southern U.S., where new HIV infections and lower levels of treatment for those infected are the highest in the country. We also speak with the White House official overseeing the Biden Administration's response to the pandemic, after resources for HIV care were diverted to battling the COVID pandemic.

QCrew, I went to San Francisco's largest display of the AIDS Memorial Quilt for its 35th anniversary because of your support, Rebel Wilson and David Archuleta celebrate Pride Month by coming out on their socials, & Saucy Santana calls Blue "nappy headed” in 2014 and twitter ain't having it in 2022. Things for you to check out    Support the Queer News Podcast - Join the QCrew https://bit.ly/3L3Ng66    Sign the Petition - Secure Brittney Griner's Swift and Safe Return to the U​.​S. https://www.change.org/p/secure-brittney-griner-s-swift-and-safe-return-to-the-u-s   About Queer News An intersectional approach to daily news podcast where race & sexuality meet politics, entertainment and culture. Tune-in to reporting which centers & celebrates all of our lesbian, gay, bisexual, transgender, queer & comrade communities. Hosted by Anna DeShawn. 7 minutes a day, 5 days a week. We want to hear from you. Tune in and tell us what you think. email us at info@e3radio.fm. follow anna deshawn on ig & twitter: @annadeshawn. and if you're interested in advertising with “queer news,” write to us at info@e3radio.fm.

The iconic AIDS Memorial Quilt, a massive and moving reminder of those who lost their lives to AIDS, will be displayed once again in its hometown right here in San Francisco after spending two decades in storage in Atlanta.  The public will finally be able to view what will be the LARGEST display in San Francisco history, after a two-year COVID-19 delay, in Robin Williams Meadow for free starting this weekend.  For more, KCBE Radio news anchors Patti Reising and Jeff Bell spoke with Peter Hartlaub, Culture Critic for the San Francisco Chronicle 

The AIDS Memorial Quilt will return to Golden Gate Park on June 11-12, with the biggest display in San Francisco history. Cleve Jones joins Total SF hosts Peter Hartlaub and Heather Knight to talk about his first time visiting San Francisco, how the quilt started and why activism in LGBTQ communities is as important as ever. Produced by Peter Hartlaub. Music is "The Tide Will Rise" by the Sunset Shipwrecks off their album "Community" and cable car bell-ringing by 8-time champion Byron Cobb. Follow Total SF adventures at www.sfchronicle.com/totalsf Learn more about your ad choices. Visit megaphone.fm/adchoices

KCBS Radio's Foodie Chap, Liam Mayclem, gets you set for a great Bay Area weekend with Pride events, San Francisco Giants baseball and AIDS Memorial Quilt.

The QCrew came through and I'm going to San Francisco to cover the 35th anniversary of the AIDS Memorial Quilt! WooHoo! Aunjanue Ellis comes out as bisexual and a school board bans the pride flag but the students and faculty get creative.     00:00 - Welcome & Intro 01:41 - Happy Pride 02:02 - Intro Music by Aina Bre'Yon 02:42 - I'm going to San Francisco  04:13 - Aunjanue Ellis comes out as bisexual 05:10 - A school board bans the pride flag but the students and faculty get creative 06:21 - Anna's Got A Word    Things for you to check out    Support the Queer News Podcast - Join the QCrew https://bit.ly/3L3Ng66    Sign the Petition - Secure Brittney Griner's Swift and Safe Return to the U​.​S. https://www.change.org/p/secure-brittney-griner-s-swift-and-safe-return-to-the-u-s   About Queer News An intersectional approach to daily news podcast where race & sexuality meet politics, entertainment and culture. Tune-in to reporting which centers & celebrates all of our lesbian, gay, bisexual, transgender, queer & comrade communities. Hosted by Anna DeShawn. 7 minutes a day, 5 days a week.   We want to hear from you. Tune in and tell us what you think. email us at info@e3radio.fm. follow anna deshawn on ig & twitter: @annadeshawn. and if you're interested in advertising with “queer news,” write to us at info@e3radio.fm.

The Wade's posted a beautiful family Easter pic & Zaya has a boo. The Air Force is allowing their LGBTQ families to relocate out of transphobic states causing them harm. 2022 is the 35th anniversary of the AIDS Memorial Quilt and San Francisco is honoring this moment with the largest quilt display in over a decade.    00:00 - Welcome & Intro 00:58 - E3 Radio Ad, Tune-in at https://e3radio.fm #QueerRadioDoneRight  01:21 - Intro Music by Aina Bre'Yon 02:01 - The Wade's posted a beautiful family Easter pic & Zaya has a boo 03:39 - The Air Force is allowing their LGBTQ families to relocate out of transphobic states causing them harm 05:17 - 2022 is the 35th anniversary of the AIDS Memorial Quilt and San Francisco is honoring this moment with the largest quilt display in over a decade 06:23 - Anna's Got A Word    Things for you to check out    Gabrielle Union Instagram  https://www.instagram.com/p/Ccdva-VP7w0/   Air Force is helping servicemembers get out of anti-trans states   https://www.lgbtqnation.com/2022/04/air-force-helping-servicemembers-get-anti-trans-states/   San Francisco to hold massive display of AIDS Memorial Quilt to honor its 35th anniversary https://www.lgbtqnation.com/2022/04/san-francisco-hold-massive-display-aids-memorial-quilt-honor-35th-anniversary/   About Queer News An intersectional approach to daily news podcast where race & sexuality meet politics, entertainment and culture. Tune-in to reporting which centers & celebrates all of our lesbian, gay, bisexual, transgender, queer & comrade communities. Hosted by Anna DeShawn. 7 minutes a day, 5 days a week.   We want to hear from you. Tune in and tell us what you think. email us at info@e3radio.fm. follow anna deshawn on ig & twitter: @annadeshawn. and if you're interested in advertising with “queer news,” write to us at info@e3radio.fm.

Moderation: Claudia Dichter; Themen u.a.: Neue Online Plattform für Kultur bei Euronews; Kunst umsonst für jeden; Film " House of Gucci" startet; Aids Memorial Quilt

We take a more somber tour of history than usual by examining the AIDS Memorial Quilt, and the HIV/AIDS epidemic that killed those represented within it. We discuss the tragedy of a negligent government, the power of a warm place to rest, and the enduring love and care we need for our communities.Website: https://www.mortalspodcast.com/Patreon: https://www.patreon.com/mortalspodcastInstagram: https://www.instagram.com/mortals_podcast/Twitter: https://twitter.com/PodcastMortals

On the show - Sue, Tony, Stephen and Josh chat about the Uk's AIDS Memorial Quilt in London. https://www.aidsquiltuk.org/about/ Terrence Higgins Trust new stigma campaign ' Life really changed". https://www.tht.org.uk/ HIV funding cuts in West Sussex and how The Worthing Hub are supporting service users in the area. A fantastic interview with Graham, the ChairBear of Brighton Bear weekend talking about the event starting on 22nd July 2021. https://brightonbearweekend.com/

On the show - Sue, Tony, Stephen and Josh chat about the Uk's AIDS Memorial Quilt in London. https://www.aidsquiltuk.org/about/ Terrence Higgins Trust new stigma campaign ' Life really changed". https://www.tht.org.uk/ HIV funding cuts in West Sussex and how The Worthing Hub are supporting service users in the area. A fantastic interview with Graham, the ChairBear of Brighton Bear weekend talking about the event starting on 22nd July. https://brightonbearweekend.com/

Part One- from the archives (2012) AIDS activist Cleve Jones, who came up with the idea for the AIDS Quilt. Part Two- John Cunningham, chief executive of the National AIDS Memorial. This month marks the 40th anniversary of the first reported AIDS cases in the United States.

In 1985, Gert McMullin was one of the first San Franciscans to put a stitch on the AIDS Quilt, the quilt that began with one memorial square in honor of a man who had died of AIDS, and that now holds some 95,000 names. Gert never planned it this way, but over the decades she has become the Keeper of the Quilt and has stewarded it, repaired it, tended it, traveled with it and conserved it for some 33 years. Gert knows the power of sewing. In 2020, when COVID-19 hit, Gert was one of the first Bay Area citizens to begin sewing masks—PPE for nurses and health care workers who were lacking proper protection—masks she made from fabric left over from the making of the AIDS Quilt. The comfort, outrage and honoring of an earlier pandemic being used to protect people from a new one. In January of 2020 The AIDS Memorial Quilt, now part of The National AIDS Memorial, returned home to the Bay Area after 16 years in Atlanta. It took six 52-foot semis to get it there. The over sixty tons of quilt, is made up of about 48,000 panels, each 3 x 6 feet, the size of a grave. The extensive AIDS Archive, which Gert gathered, collected and protected since its earliest days, is now part of The American Folklife Center at The Library of Congress in Washington, DC. This piece features stories of Gert McMullin and the AIDS Memorial Quilt, the Gay Rights Movement in San Francisco, Harvey Milk and The White Night Riots and more. With interviews with LGBT Rights activist Cleve Jones who worked with Harvey Milk and conceived of the AIDS Memorial Quilt, and John Cunningham, Executive Director of the National AIDS Memorial.

We discuss the AIDS epidemic and the creation of the largest piece of folk art in the world, the AIDS memorial quilt.

John joined the National AIDS Memorial as Chief Executive in 2009. John is a fifth generation Californian, having grown up in the East Bay before relocating to New England at the age of seven. A graduate of the University of California at Berkeley, he received a degree in political science and organizational behavior. John presently resides in Oakland with his husband Joel and their two dogs.   “On June 5, 2021, we honor the more than 700,000 U.S. lives lost to AIDS during the past four decades. Join us online to watch a moving observance with leaders from the AIDS movement beginning @ 2:30 pm PT/5:30 pm ET. You can also sign-up to visit the Memorial Grove to experience a 40-Block outdoor display of the AIDS Memorial Quilt.” For more information: https://www.aidsmemorial.org/ See omnystudio.com/listener for privacy information.

December 1st is World AIDS Day, a day to unite in the fight to end the HIV epidemic, support people living with HIV, and honor those who have lost their life.One of the most most famous AIDS-related icons is the NAMES Project AIDS Memorial Quilt. Conceived in 1985 by Cleave Jones and then co-founded as the NAMES Project with Mike Smith in 1987, the quilt has blossomed into a 48,000 panel memorial. Smith joins me to talk about the how the quilt began, the struggle to maintain a memorial made of spangles and cloth, and how the busiest quilt in American history went virtual. Like, subscribe, and listen!Ren Morrill (Host) - Ren is The Three Letter Podcast’s creator and host. He is a Maine native with a life long passion for HIV. He works for Frannie Peabody Center as the prevention program coordinator. He also serves as the co-chair of Pride Portland’s HIV Advisory Board.Mike Smith- Today is World AIDS day and my guest is Mike Smith. Mike is the co-founder of the AIDS Memorial Quilt and served as managing director there from 1987 to 1989. He returned in 1996 to produce the last full-scale display of the Quilt in Washington DC that year. Mike was executive director of the LGBT Community Center of Colorado from 1997 to 2001 and then, from 2002 to 2015, he led AIDS Emergency Fund & Breast Cancer Emergency Fund (AEF & BCEF), agencies that annually help more than 3,000 people disabled by HIV/AIDS or breast cancer pay their bills while too sick to work. He has recently rejoined the Quilt team as a consultant to the National AIDS Memorial, the new stewards of the Quilt.Mike’s undergraduate degree is from Georgetown University’s School of Foreign Service. He received his MBA from Stanford University Graduate School of Business.•NAMES Project AIDS Memorial Quilt •Pride Portland’s HIV Advisory Board Virtual Hosting Of 8 Panels

AIDS Memorial Quilt & Food Relief Packs for PLHIV         Skye Bartlett personally saw to bringing light to the AIDS Memorial Quilt for South Australia once again. Join us as we talk about how the quilt originated at the beginning of the AIDS pandemic and the sentiment behind it. For more information about the quilt or if you wanted to make a contribution, get in touch with Skye via SAMESH (South Australia Mobilisation & Empowerment for Sexual Health). Daniel also joins us to chat about the food relief packs that were provided for people living with HIV, especially during a very trying time this year, as part of the community pantry. For some delicious and nutritious recipes, check out the SASHA website, or get in touch via SAMESH website or Facebook page.        

Today we have a discussion of COVID-19 Memorials with Chris Kocher, Joanna Hutchinson, Katherine Fugate, and Madeleine FugateChris Kocher is the founder and executive director of COVID Survivors for Change.  He is also the co-creator of a project, National COVID-19 Remembrance, an art installation and memorial to victims of COVID-19 that involved 20,000 empty seats on the Ellipse in Washington, D.C., and several statewide Remembrance events also featuring empty chairs.  He previously launched and led the Everytown Survivor Network, a part of Everytown for Gun Safety, which is the nation’s largest community of gun violence survivors working together to end gun violence. Based in West Philly, Joanna Hutchinson is a part-time sculptor, avid crafter, and enjoys a career in finance. Joanna is the artist behind 100,000 Folds: a community sculpture project honoring COVID victims in the United States and worldwide. She likes bringing people together: for friendship, community, and art making. 100,000 Folds is a way for the artist, and others, to mourn and reflect around the coronavirus crisis.MADELEINE FUGATE is 13 years old and an 8th grade student at The Buckley School in Sherman Oaks, California. When Madeleine was in the 7th grade, she was given a Community Action Project with the theme "Young Changemakers in a Covid-19 World." After hearing stories from her mother, who worked on the AIDS Memorial Quilt in the 1980s and told her healing it was at the time, Madeleine created the Covid Memorial Quilt to honor and remember all those who have died of COVID-19. Word has spread of the Covid Memorial Quilt and Madeleine has now received over 100 Memorial Squares from the US and from around the world.KATHERINE FUGATE is a screenwriter, best known for creating, writing and executive producing the TV series ARMY WIVES. She was honored to work with First Lady Michelle Obama and Dr. Jill Biden on the "Joining Forces" campaign shining a light on the sacrifices of our military families. Katherine served 8 years on the Board of Directors of the Writers Guild of America, West. Katherine is the proud mother of Madeleine.

We often have those moments, the ones we literally denote as those where history stops for just one second to rewrite and reinvent itself. In America, you talk of 9/11, Pearl Harbor, Kennedy and MLK being shot, the night Obama was elected. This past Saturday may have been another, where the media call that Biden had won the electoral college sent seismic waves throughout the world. Those are instantaneous moments of history, where in a second, life is different. They are the rarest of times. Perhaps that is why we wanted to share this conversation the week after an election and period of time that is so dominated by instantaneous social media communication. On November 21, 2020, the Toledo Museum of Art will open Radical Tradition: American Quilts and Social Change, an exhibition that spans centuries and speaks to just how labor intensive oral history and physical storytelling can be. There is a beauty in the quilt, not only as an object of warmth and the process to create them, but as the museum notes "quilts have been used to voice opinions, raise awareness, and enact social reform in the U.S. from the mid-nineteenth century to the present." American history is so engrained in the history of quilts, from cotton production to the industrial revolution to civil rights, gender equality, queer rights, you tend to forget that these stories are not just part of an Outsider Art tradition but the very fabric of our lives. And how these two opposing words, "Radical" and "Tradition" are the hallmarks of how we grow and heal as a country in flux. From Gee's Bend quilts, the AIDS Memorial Quilt to the contemporary works of Bisa Butler, there is a lot to understand about the dynamics of quilts and their place in the pantheon of American art. In episode 057 of the Radio Juxtapoz podcast, we speak with Radical Tradition curator Lauren Applebaum of the Toledo Museum of Art on how the pandemic changed her daily life at the museum, the history of Outsider traditions in institutional arts, Toledo's unique history in art and the intricacies of curating an art show on radical traditions while the country itself was going through radical changes on streets across America. The Radio Juxtapoz podcast is hosted by FIFTH WALL TV's Doug Gillen and Juxtapoz editor, Evan Pricco. Episode 057 was recorded via Skype from Toledo, San Francisco, London, October 27, 2020. Radical Tradition is on view at the Toledo Museum of Art in Toledo, Ohio starting on November 21, 2020.

So your government is mishandling a pandemic resulting in the unnecessary deaths of hundreds of thousands of people? Listen to our newest episode, and let's follow the lead of our LGBTQ+ siblings and get quilting!  Support the National AIDS Memorial at https://www.aidsmemorial.org/donate

In 1985, Gert McMullin was one of the first San Franciscans to put a stitch on the AIDS Quilt, the quilt that began with one memorial square in honor of a man who had died of AIDS, and that now holds some 95,000 names. Gert never planned it this way, but over the decades she has become the Keeper of the Quilt and has stewarded it, repaired it, tended it, traveled with it and conserved it for some 33 years now. Gert knows the power of sewing. In 2020, when COVID-19 hit, Gert was one of the first Bay Area citizens to begin sewing masks—PPE for nurses and health care workers who were lacking proper protection—masks she makes from fabric left over from the making of the AIDS Quilt. The comfort, outrage and honoring of an earlier pandemic being used to protect people from a new one. In January of 2020 The AIDS Memorial Quilt, now part of The National AIDS Memorial, returned home to the Bay Area after 16 years in Atlanta. It took six 52-foot semis to get it there. The over sixty tons of quilt, is made up of about 48,000 panels, each 3 x 6 feet, the size of a grave. The extensive AIDS Archive, which Gert gathered, collected and protected since its earliest days, is now part of The American Folklife Center at The Library of Congress in Washington, DC. The story of Gert McMullin and the AIDS Memorial Quilt, the Gay Rights Movement in San Francisco, Harvey Milk, The White Night Riots. With interviews with LGBT Rights activist Cleve Jones who worked with Harvey Milk and conceived of the AIDS Memorial Quilt, and John Cunningham, Executive Director of the National AIDS Memorial.

Join us to learn the story behind the AIDS Memorial Quilt, as the Quilt's caretakers share their personal stories reflecting on 40 years of the pandemic. We'll discuss the Quilt's deep roots in San Francisco; meet the "Mother of the AIDS Quilt, who has been there since the beginning and is still there today to "take care of her boys"; learn about the Quilt's move to the care of the National AIDS memorial and how it is a powerful tool to teach—and reach—today's generation about HIV/AIDS; and hear personal stories behind the panels of the Quilt. While the United States and the world are reeling from the COVID-19 pandemic, learn about the parallels and differences between this pandemic and the AIDS pandemic, and how the Quilt provided healing and became a source of support to today's first-responders via mask-making. NOTES This program contains some explicit language This program is produced in partnership with AIDS2020 Made possible by the generous support of Gilead and Comcast Learn more about your ad choices. Visit megaphone.fm/adchoices

SPEAKERS John Cunningham Executive Director, National AIDS Memorial Mike Smith Co-Founder, AIDS Memorial Quilt Gert McMullin Quilt Conservator & Production Manager, National AIDS Memorial Michelle Meow Producer and Host, "The Michelle Meow Show," KBCW TV and TuneIn; Member, Commonwealth Club Board of Governors—Host In response to the Coronavirus COVID-19 outbreak, this program took place and was recorded live via video conference, for an online audience only, and was live-streamed from The Commonwealth Club of California in San Francisco on June 15th, 2020. This program contains some explicit language

This week Lisa talks about the Lesbian Vampire Killer Tracey Wigginton, Kirsten talks about the Aids Memorial Quilt, and Kay talks about Sappho.

How an LGBTQ+ activist decided to commemorate friends who had died of AIDS with a quilt, plus sequencing the 1918 flu virus, five years of war in Yemen, the story of a child abandoned in Hong Kong, and an attack on South Korea. (Photo: A section of the AIDS Memorial Quilt. Getty Images)

In 1985 activists hand-stitched a giant quilt to commemorate friends and relatives killed by AIDS, and to campaign for more funding and research into the disease. It was the brain child of Cleve Jones, who explains to Rebecca Kesby what it was like to live through the HIV/AIDS epidemic in San Francisco. How the LGBT community had to pull together, as victims of AIDS were ostracised by the wider community during their worst moment of suffering. (Photo: A section of the AIDS Memorial Quilt. Getty Images)

Feb 18 2020   Tues/wed News   1.Sacramento approves two dozen cabins to shelter homeless youth set to open next  month  2.Drone pilot suspected of dumping fliers in Sacramento fit to face trial, judge says  3.New penalty, extended deadline drive increase in California health insurance sign-ups  4.The Underground: Five key places to look for art off the beaten path in Sacramento  5.Solano sheriff’s deputies arrest man suspected of hitting CHP plane with blue laser  6.Rocklin police help property owners clean up 18 homeless camps near Interstate 80  7.Man arrested after 25-mile chase from Rancho Cordova to Placerville ends in crash  8.Humboldt State University investigates allegations a faculty member solicited paid sex with students  9.San Jose homicide: Woman’s body found in East Foothills home  10.George Soros says Zuckerberg, Sandberg should be ‘removed’ from Facebook  11.NSA leaker Reality Winner seeking clemency  12.Man grabbed woman by neck, forced her toward car in alleged kidnapping attempt  13.AIDS Memorial Quilt moves to Bay Area  14.Heads up: No weekend Caltrain service in San Francisco until April 

For this week’s episode, we got to chat with David Villarreal of the Mosaic Project about his dedication and hard work on getting the AIDS Memorial Quilt brought down to Corpus Christi and events surrounding this memorial. Check it out!Herrman & Herrman PLLCFacebookInstagramTwitter

A piece of national history is being relocated from the Library of Congress to San Francisco where a new museum dedicated to the AIDS crisis and the lives it took will be commemorated by the AIDS Memorial Quilt.

Show #205 | Guest: Cleve Jones | Show Summary: A rebroadcast of our December 17, 2016 show | From longtime activist Cleve Jones comes a sweeping, beautifully written memoir about a full and remarkable American life. Jones brings to life the magnetic spell cast by 1970’s San Francisco, the drama and heartbreak of the AIDS crisis and the vibrant generation of gay men lost to it, and his activist work on labor, immigration, and gay rights, which continues today. Born in 1954, Cleve Jones was among the last generation of gay Americans who grew up wondering if there were others out there like himself. There were. As did thousands of young gay people, Jones moved to San Francisco in the early ’70s, nearly penniless, finding a city electrified by progressive politics and sexual liberation. Jones met lovers, developed intense friendships, and found his calling in “the movement.” Jones dove into politics and activism, taking an internship in the office of San Francisco Supervisor Harvey Milk, who became Jones’ mentor before his murder in 1978. With the advent of the AIDS crisis in the early ’80s, Jones emerged as one of the gay community’s most outspoken leaders. He co-founded the San Francisco AIDS Foundation and, later, the AIDS Memorial Quilt, one of the largest public art projects in history.

Cleve Jones talks about his life in the LGBTQ movement: working with Harvey Milk, starting the AIDS Memorial Quilt, and marching on Washington. He says marriage equality was never part of their mission, only stemming out the AIDS pandemic when they saw how important and life-saving it could be. Cleve also discusses the importance of building community amongst LGBTQ people, and says he is in now in love again and happier than he’s been in years. LGBTQ&A is hosted by Jeffrey Masters. @jeffmasters1 You can recommend a guest or let us know what you think about the show on Twitter or by emailing lgbtqashow@gmail.com More information: www.LGBTQpodcast.com

6 out of 10. Okay, needs work. www.latheatrebites.com Spanning from the 1988 display of the AIDS Memorial Quilt in Washington DC to the worldwide Women's Marches, Shades of Disclosure illuminates the triumphant lives of real people whose personal stories have been forgotten or silenced. Individuals, of varying stripes, relive their intimate and heartfelt histories while speaking to a sixteen-year old who, after bravely announcing her queerness, finds herself at a precarious turning point in American politics. In Shades of Disclosure, she discovers a band of mentors who tell it like it was, is, and how they hope it can be.

Show #150 | Guest: Born in 1954, Cleve Jones was among the last generation of gay Americans who grew up wondering if there were others out there like himself. There were. As did thousands of young gay people, Jones moved to San Francisco in the early ’70s, nearly penniless, finding a city electrified by progressive politics and sexual liberation. Jones met lovers, developed intense friendships, and found his calling in “the movement.” Jones dove into politics and activism, taking an internship in the office of San Francisco Supervisor Harvey Milk, who became Jones’ mentor before his murder in 1978. With the advent of the AIDS crisis in the early ’80s, Jones emerged as one of the gay community’s most outspoken leaders. He co-founded the San Francisco AIDS Foundation and, later, the AIDS Memorial Quilt, one of the largest public art projects in history. | Show Summary: From longtime activist Cleve Jones comes a sweeping, beautifully written memoir about a full and remarkable American life. Jones brings to life the magnetic spell cast by 1970’s San Francisco, the drama and heartbreak of the AIDS crisis and the vibrant generation of gay men lost to it, and his activist work on labor, immigration, and gay rights, which continues today.

Contemporary Design History; History of the AIDS Crisis As Susan Sontag pointed out, the American AIDs epidemic is characterised by powerful, apocalyptic metaphors. And, whether one is talking in terms of the syndrome itself; in relation to government inaction, or of the militant activism that sprung up across America’s gay urban centres, these are invariably metaphors of warfare. Further, in discussing how we remember and memorialise AIDS, many scholars have drawn comparisons with the way we remember and mourn war, arguing that the AIDS Memorial Quilt owes much of its conceptual framework to the Vietnam Veterans’ Memorial. Meanwhile, the Quilt’s custodians, the NAMES Project, view themselves as closely aligned with efforts to memorialise the Holocaust, citing Yad Vashem as an exemplar memorial. Similarly, Gert McMullin, long-time Handmaiden of the Quilt, calls the panels her soldiers: ‘these are the old soldiers,’ she said, gesturing at the warehouse that houses the Quilt, ‘and we keep getting new troops in.’ Thus, we can see AIDS as part of an ideological war, affecting conceptions of masculinity, the body, and linguistics, whilst also prompting new modes of relating to, remembering, and memorialising trauma. With the AIDS Memorial Quilt in the contemporary period as a case study, I take a design-historical and theoretical approach to assess how we use unique material processes to remember and memorialise during prolonged periods of trauma. I argue for the Quilt as a postmodern text that, rather than embodying a single cohesive collective memory, provides a collection of memories; a diverse assemblage of ways to remember the crisis, and those lost to it.

To speak to Gert McMullen about the origins of the AIDS Memorial Quilt is to go back to a scary, sad time in LGBTQ history: San Francisco in the early 1980s. "People were terrified," she explains, "because they didn't know what was happening. People were just dying. They were trying to figure out, why were these gay men dying?" Gert lost many of her friends in the early days of the AIDS epidemic, and thanks to the fear and stigma surrounding the disease, she was often their only visitor. "You would go into the hospitals and there was nobody there and the nurses would put you in a moon suit, basically, to walk in there, because they didn't know what was going to happen," she recalls. No one understood how the disease was transmitted, so many people were afraid to come into close contact with their afflicted loved ones - even during their final days. "I remember a friend of mine who was so lonely and I just kind of touched him, and he just went, 'Oh my god, it's been so long since somebody even touched me.'" Witnessing all this sparked Gert's involvement in LGBTQ activism - involvement which continues today. She began work on the AIDS Memorial Quilt in the 80s and is now its caretaker, taking it on tours so people can see it in person. Twenty panels of the quilt will be on display as part of the 20th Anniversary Louisville AIDS Walk on October 13th. We'll talk more about the walk as it gets closer, but this week we speak to Gert about the quilt itself, and the evolution of AIDS-related activism. In our Juicy Fruit segment, we talk about the Charlotte, NC police shooting of Jonathan Ferrell, who was unarmed and running to them for help after a car accident. We also take a look at the racism that erupted online when Nina Davuluri was crowned Miss America. And we celebrated Queen Latifah's new talk show but wondered why so many folks involved in its debut are widely-rumored to be gay.

For todays show Gene examines the physical and cultural impact of the Center for Disease Control - better known as the CDC - the only government agency headquartered outside of Washington DC. The relationship between the CDC and Atlanta traces all the way back to the malaria epidemic of the early 20th century, but it has grown more over time. In the Atlanta community, the CDCs impact cannot be understated. It is measured by prestige, progress and even in terms of economic development, bringing new business to the city and to the region. Today, the CDC is also fostering an environment of collaboration: through design, through education, and even by way of Zombies…yes, Zombies. Our three guests are: (1) Dan Watch, an architect for Perkins+Will who helped lead the design of CDCs newest Atlanta campus (2) JULIE RHOAD, President and CEO of the NAMES Project Foundtion which oversees the AIDS Memorial Quilt and (3) DAVID DAIGLE. agency spokesperson for the CDC and creator of the Zombie Apocalypse campaign.